Free production course (1 Viewer)

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I use ReaEq on everything
Just looked at that video. Honestly, given my less than ideal mixing enviroment I don't think this is ever going to make much difference to me.
Ahh yeah..i just thought it might interest ya
 
I know it might sound crazy but I do a lot of my sound work editing entirely visually, there is only so much you can ever hear anyways.

I know it's "bad practice" but if it's available I do use the spectral analyser when I'm eqing. And I always use the GR meter when using a compressor.

The more I mix the better I'm getting at listening to a mix and going "oh that guitar is a bit brittle better pull some of the high mids out or, oh that's muddy, bye bye 500" but I still need a bit of help visually from time to time.
 
I know he's using analogue modelling plugins here (and day to day he works on a massive 64 track SSL desk) but some of the boosts he's doing here seem absolutely insane.

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I do like how his main argument for doing it being, "what's the worst that will happen? No one is going to die."
 
He sounds like Steve Van Sant or whatever the fuck his name is
 
I don't know if my mixes, or if my songs are going to be any good on this record but I do know that the deeper I get into it my ears are getting better.

On Sunday I was listening to something I'd been working on and thought that the vocals were missing something, not enough warmth or heft, a little thing. Bang, little boost around 300 or so and it was sounding much better. But I knew what the problem was and I knew where to go to find it.

One lad kept banging on about "you've got to train your ears, got to do it" and I thought it'd never happen. But in the last 2 months I've gone from barely able to identify a muddy/roomy part to being able to identify and fix all sorts of frequency issues; "warmth", "honk" "brittleness" I can spot them now. Are instruments clogging each other up? I'm really pleased, and it's not work it happened as I was working.
 
TFW your mix sounds great on your monitors and on your good cans then you stick it up on soundcloud to see how it translates and the parts you thought were sitting nicely are now either too high or too low on earbuds or laptop speakers and it's way muddier than you'd like


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This thing in total is about 6 hours long but I fast forwarded through all the audience questions; philosophy re analog and watching him splice tape/calibrate machines to just watch the mixing stuff, which is about an hour and 45 mins.

What's interesting is how little he actually does when mixing. Bring up a rough mix to balance and then a bit of EQ, mostly on the desk; did something (interesting, as opposed to doing a boost he double the bass but band passes the frequency to find where he wants to boost that) to the kick, put the snare through an 1176 and some slap on the the vocals and that's about it.

I imagine that he does a lot of EQ and compression in the recording phase.
 
This thing in total is about 6 hours long but I fast forwarded through all the audience questions; philosophy re analog and watching him splice tape/calibrate machines to just watch the mixing stuff, which is about an hour and 45 mins.

What's interesting is how little he actually does when mixing. Bring up a rough mix to balance and then a bit of EQ, mostly on the desk; did something (interesting, as opposed to doing a boost he double the bass but band passes the frequency to find where he wants to boost that) to the kick, put the snare through an 1176 and some slap on the the vocals and that's about it.

I imagine that he does a lot of EQ and compression in the recording phase.

Shit forgot to post the video

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This thing in total is about 6 hours long but I fast forwarded through all the audience questions; philosophy re analog and watching him splice tape/calibrate machines to just watch the mixing stuff, which is about an hour and 45 mins.

What's interesting is how little he actually does when mixing. Bring up a rough mix to balance and then a bit of EQ, mostly on the desk; did something (interesting, as opposed to doing a boost he double the bass but band passes the frequency to find where he wants to boost that) to the kick, put the snare through an 1176 and some slap on the the vocals and that's about it.

I imagine that he does a lot of EQ and compression in the recording phase.

An older engineer i know was telling me that when he was training it was european vs american style mixing.

the europeans (at the time, worked very hard on the sources and very little in post production while the americans did the opposite.

I think albini is leaning toward the european side a fair bit where the work is largely done between the instrument and the tape, which generally makes mixing a very easy job.
 
Go to youtube, search fundamentals of mixing mixing with mike

The modules, there's a little more than an hour on each; on subtractive EQ and functional compression are 2 of the more instructive things I've seen on how to get separation in a mix and how to place your elements into it, both in terms of front to back and height.

I reckon if you nail both of these early on in a mix it'll come together much easier. If you're into mixing and you don't know this stuff it's great.

TL;DW, basically it's all to do with getting your elements to sit where you want in the mix. Don't be afraid to be aggressive with your high pass and low pass. And learn how to work the compressor release time to match up to crotchet/quaver/semi-quaver times for your track
 
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Is there anything to be said for bouncing out a mix, playing it on your bluetooth speakers and using your phone's rudimentary EQ to get it sounding better and making a note of what you did before going back to the session and making similar moves on individual tracks?
 
I would say yes.

The trick with referencing on multiple different systems is if they all sound shit in a different way ignore them all.. but if they all sound shit the same way then fix that.
 
I run the mix through the car, bluetooth and headphones and then when i've done that it gets run through my mixing desk's 3 band to explore the mastering a bit before i do it on the really posh setup. So yes.
 
Is there anything to be said for bouncing out a mix, playing it on your bluetooth speakers and using your phone's rudimentary EQ to get it sounding better and making a note of what you did before going back to the session and making similar moves on individual tracks?
People always talk about the car stereo test where you burn your mix to cd or whatever and have a listen to it in that environment.
 
People always talk about the car stereo test where you burn your mix to cd or whatever and have a listen to it in that environment.

Yeah, basing it on that thinking. If I'm listening in the car or whereever and I hear problems can I "fix them" with EQ on the track and then go back into the mix to do the changes more subtly.

Like if pulling out a bit of 1k solves the issue of the bass being too present can I up the session and pull some 1k out of the bass and that might fix the issue without making everything else in the track sound too hollow?
 

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