I'm coming back to this video several months later and I am blessed at the progress my channel has made. Thanks for your kind words and I'm excited to keep moving forward!
You have good form for giving tutorials. However, to OP, as well as all viewers: Please note that high back gaming chairs unnaturally reflects reflect sound to your ears and can SKEW entire mixes, Mal creating sound that is unreliable in the all important mid range frequencies. As a full time mix engineer, I can roll those whom are using such seats, as it has an acoustical signature. Chairs that don’t exceed your shoulders , or only by an inch or so, are imperative to hearing sound that you can reliably count on. Hope this helps
Thanks Jeff! That’s such a great thought. I live in an apartment complex and have neighbors above and beside me, so I’m very cautious with volume levels. That being said, that’s why I use my custom in-ear monitors for this kind of work (which is really more focused on music creation than mixing). I used to work from a more optimized space with studio monitors, however, I moved about 4 months ago and had to downsize my home studio. I appreciate the insight!
@@GregAllison Yeah, I live in a world of only mixing and rarely have time for creation these days, so it stuck out at me like a sore thumb, but your criteria is certainly different, Greg. I've been mixing a very long time, and made the transition from analog to digital quite well, but don't know if I can lose the monitors. Keep in mind, near field monitors are designed to play at "conversational Volume"; a volume that you can easily speak over; with a voice whose volume is suitable for conversation. There are many advantages to this, including lack of fatigue and your ear opens up and is more sensitive at such a volume. Louder listening levels not only closes up your ear to much of what you are listening to, but also brings upon ear fatigue faster, not to mention hearing damage. Which in-ear monitors do you use and, may I ask, why? I've heard some of my colleagues recommend them as a valid way to mix, so I'm curious. To anyone following, when using any kind of cans, I feel it is of grave importance to start in Mono, and switch to Stereo later in the process. This helps you head off phase issues and instruments stepping on each other easilysound waves find themselves going around your head.Y effectivelyrhythmgtr causes a phase issues, or steps on the keys, on the left side, and may need to go to 50 percent, for a more cohesive mix. It's better finding out early, while corrections are simple and easy, as compared to when you have, what you consider, a good mix otherwise benefits, this isn't an anti-can rant in any way, just some enlightenment, butbecauseresurrectingfor spot wheredon't find that is as foolproof as working in Mono in the beginning to find all issues. It's better than NOT checking in mono, but if you are methodical while creating and/or mixing the beginning of your project, you will likely continue with your methodical ways, and that goes far when you are methodical through the finished product. Checking in mono is like taking a picture of your sleeping baby, once every minute or two, instead of actually watching the baby. A lot can happen in a minute or two (it could be half of your project!) - I never took any chances with my children, nor my mixes: my mentors at the time would not had let me, if I had tried:) Nor would my wife, with my kids!! My mixes are like my children: Needy, Time Consuming, and in need of a lot of my time and resources. They are both also a great source of pride but mixes don't keep asking me for money. www.soundonsound.com/sound-advice/q-what-pan-law-setting-should-use
I was rather young when Analog mixing was mainstream, so I have never had the opportunity to learn from the traditional techniques of recording and processing audio. In a sense, I feel like I missed out on hearing the authentic warmth that tape can introduce to recorded audio. I currently use Alclair Audio RSM in-ears. A big part of why I choose to use in-ears while creating is simply for the fact that I always want to keep my commentary mic live when I’m recording a video, so it helps create a predictable result when I’m playing audio back and recording commentary as I constantly start/stop the DAW’s playback. As for the mixing in mono thought you shared, that was a complete game-changer for me when I started mixing full time from home (just for a few months I should say) when the Covid lockdowns started here in the US. Mixing and balancing instruments in mono, then switching to stereo made my jaw drop as to how much wider and more open the mix felt compared to mixing in stereo, and referencing in mono. Overall, I think as time goes on, I may even outsource my own mixing for my music as I get the most enjoyment out of the composition itself. I have several great friends that are audio engineers here in Kansas City, and I trust their ears as well. Thanks for the insight and great conversation!
I'm an Ableton live user and using it for production since about 4 years now. Was thinking to switch to logic pro x though (because of the visual experience you get with this software, has better stock plugins, and comes with a great sounding instruments and sample library). Also logic is optimized better for macOS and gives better performance as compared to Ableton live. I just wanted to ask what are your thoughts on the same (logic vs ableton live)... I really really really love the workflow of Ableton and don't want to switch at the same time tho, logic seems to be great option other than ableton in itself. Because you also have Ableton live 10, I would love to hear your thoughts on the same! Thank you
I was just thinking about making a video on the same topic! Overall, I primarily use Ableton in a live performance setting. I do a lot of work where I’m using session view to fire scenes as song backing tracks for the band. I see pros and cons for both and as for Logic, I love the vast variety of instruments it comes with and I see Logic as a tool to help with creativity. (Drummer tracks are incredible when I am working by myself and need a groove to start a track.) Like I mentioned above, I’ll make a video where I dive further into why I love each. I just have 10 or so years of experience in Logic and I’ve taken certification classes, so it’s the most intuitive for me when I’m working quickly.
I’ve totally been looking into it! Overall, it seems more like a tool for creation rather than performing a planned, rehearsed set with a band. I do suppose it could work for a live show, But I tend to have a bit more faith in Ableton’s stability when it matters most.
does anybody having an issue with cpu performance with 10.6 ? i struggle with my session around 100 tracks in buffer size 1024 keep system overload . Thought because one of the plugin that cpu hungry. And then i try tt open it 10.5.1 and it perfectly fine eventhough in 128 buffer size. I'm using macbook pro 19 inch 16gb ram, 6 core, catalina. Is it somebody having the same issues as me. I keep my 10.5.1 LPX when updating to 10.6. Just wondering..
Thank you! That was helpful
🚀❤️
keep growing brother ..😇😃
I'm coming back to this video several months later and I am blessed at the progress my channel has made. Thanks for your kind words and I'm excited to keep moving forward!
Nice
Thanks for this Bro, most helpful! Slamming track!
Great tutorial! 👍🏻👏🏻👍🏻
Thanks, Willi!
quick tip. in plug-in manager, if you select "top level" that shows all your instruments, and you can arrange them.
Sweet! That’ll help next time I’m in there.
Bro that track is 🔥💜.. btw great tutorial, you earned a sub :)
Thanks! I appreciate the kind words.
Great tips! Thanks! I've smashed all the smashers! Salutations from astonishingly wet and chilly Ireland! ☘️☮️🤘🏽🤠👍🏽☮️☘️
Thanks Sonny! I appreciate it!
Thank you sir❤️
Thank you for sticking around!
You have good form for giving tutorials.
However, to OP, as well as all viewers:
Please note that high back gaming chairs unnaturally reflects reflect sound to your ears and can SKEW entire mixes, Mal creating sound that is unreliable in the all important mid range frequencies. As a full time mix engineer, I can roll those whom are using such seats, as it has an acoustical signature.
Chairs that don’t exceed your shoulders , or only by an inch or so, are imperative to hearing sound that you can reliably count on.
Hope this helps
Thanks Jeff! That’s such a great thought.
I live in an apartment complex and have neighbors above and beside me, so I’m very cautious with volume levels. That being said, that’s why I use my custom in-ear monitors for this kind of work (which is really more focused on music creation than mixing).
I used to work from a more optimized space with studio monitors, however, I moved about 4 months ago and had to downsize my home studio. I appreciate the insight!
@@GregAllison Yeah, I live in a world of only mixing and rarely have time for creation these days, so it stuck out at me like a sore thumb, but your criteria is certainly different, Greg. I've been mixing a very long time, and made the transition from analog to digital quite well, but don't know if I can lose the monitors. Keep in mind, near field monitors are designed to play at "conversational Volume"; a volume that you can easily speak over; with a voice whose volume is suitable for conversation. There are many advantages to this, including lack of fatigue and your ear opens up and is more sensitive at such a volume. Louder listening levels not only closes up your ear to much of what you are listening to, but also brings upon ear fatigue faster, not to mention hearing damage. Which in-ear monitors do you use and, may I ask, why? I've heard some of my colleagues recommend them as a valid way to mix, so I'm curious.
To anyone following, when using any kind of cans, I feel it is of grave importance to start in Mono, and switch to Stereo later in the process. This helps you head off phase issues and instruments stepping on each other easilysound waves find themselves going around your head.Y
effectivelyrhythmgtr causes a phase issues, or steps on the keys, on the left side, and may need to go to 50 percent, for a more cohesive mix. It's better finding out early, while corrections are simple and easy, as compared to when you have, what you consider, a good mix otherwise
benefits, this isn't an anti-can rant in any way, just some enlightenment, butbecauseresurrectingfor spot wheredon't find that is as foolproof as working in Mono in the beginning to find all issues. It's better than NOT checking in mono, but if you are methodical while creating and/or mixing the beginning of your project, you will likely continue with your methodical ways, and that goes far when you are methodical through the finished product. Checking in mono is like taking a picture of your sleeping baby, once every minute or two, instead of actually watching the baby. A lot can happen in a minute or two (it could be half of your project!) - I never took any chances with my children, nor my mixes: my mentors at the time would not had let me, if I had tried:) Nor would my wife, with my kids!! My mixes are like my children: Needy, Time Consuming, and in need of a lot of my time and resources. They are both also a great source of pride but mixes don't keep asking me for money.
www.soundonsound.com/sound-advice/q-what-pan-law-setting-should-use
I was rather young when Analog mixing was mainstream, so I have never had the opportunity to learn from the traditional techniques of recording and processing audio. In a sense, I feel like I missed out on hearing the authentic warmth that tape can introduce to recorded audio.
I currently use Alclair Audio RSM in-ears. A big part of why I choose to use in-ears while creating is simply for the fact that I always want to keep my commentary mic live when I’m recording a video, so it helps create a predictable result when I’m playing audio back and recording commentary as I constantly start/stop the DAW’s playback.
As for the mixing in mono thought you shared, that was a complete game-changer for me when I started mixing full time from home (just for a few months I should say) when the Covid lockdowns started here in the US. Mixing and balancing instruments in mono, then switching to stereo made my jaw drop as to how much wider and more open the mix felt compared to mixing in stereo, and referencing in mono.
Overall, I think as time goes on, I may even outsource my own mixing for my music as I get the most enjoyment out of the composition itself. I have several great friends that are audio engineers here in Kansas City, and I trust their ears as well.
Thanks for the insight and great conversation!
I'm an Ableton live user and using it for production since about 4 years now. Was thinking to switch to logic pro x though (because of the visual experience you get with this software, has better stock plugins, and comes with a great sounding instruments and sample library). Also logic is optimized better for macOS and gives better performance as compared to Ableton live. I just wanted to ask what are your thoughts on the same (logic vs ableton live)... I really really really love the workflow of Ableton and don't want to switch at the same time tho, logic seems to be great option other than ableton in itself. Because you also have Ableton live 10, I would love to hear your thoughts on the same!
Thank you
I was just thinking about making a video on the same topic! Overall, I primarily use Ableton in a live performance setting. I do a lot of work where I’m using session view to fire scenes as song backing tracks for the band.
I see pros and cons for both and as for Logic, I love the vast variety of instruments it comes with and I see Logic as a tool to help with creativity. (Drummer tracks are incredible when I am working by myself and need a groove to start a track.) Like I mentioned above, I’ll make a video where I dive further into why I love each. I just have 10 or so years of experience in Logic and I’ve taken certification classes, so it’s the most intuitive for me when I’m working quickly.
@@GregAllison you say you use Ableton for session view and live performance but what about new live loops in logic? can't this be a substitute?
I’ve totally been looking into it! Overall, it seems more like a tool for creation rather than performing a planned, rehearsed set with a band. I do suppose it could work for a live show, But I tend to have a bit more faith in Ableton’s stability when it matters most.
this guy is so nice if someone give dislike will go straight to fucking hell
theres a high pitched buzz throughout this vid just a heads up
Good catch! I’m always looking to improve. 👍🏼
does anybody having an issue with cpu performance with 10.6 ? i struggle with my session around 100 tracks in buffer size 1024 keep system overload . Thought because one of the plugin that cpu hungry. And then i try tt open it 10.5.1 and it perfectly fine eventhough in 128 buffer size. I'm using macbook pro 19 inch 16gb ram, 6 core, catalina. Is it somebody having the same issues as me. I keep my 10.5.1 LPX when updating to 10.6. Just wondering..