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Very well done lecture. Thank you.

Enjoyed both Acustica plugins the best. Felt they offered a bit more of sound stage and the Magenta felt it offered both weight and clarity in the low end. But they were all super.

from what i experience with using logic pro and cubase pro is that if you are truly into using your own capablities and talent about creating your own tunes, cubase is the best choice. cubase is the best daw if you want to make it from the scratch.

Also that Amek 9099 is …..SWEET!!!! But give the Amek 200 a try too….i actually like the 200 better than the 9099 on some things….both are great….but in my honest opinion for vocals and strings…..Focusrite console is superior to anything.

I did a mix one time and it was just to heavy….i ended up using the Oxford enveloper plug in on the mix bus and just turned the knob down on it a little….it ended up being one of the best mixes I ever made….but guess what? It never worked again like it did on that mix….but every time I use console plug ins now I can achieve that transparent sound in the ranges of instruments I need them to be….thats why console plug ins and having as many as 7-10 options are so valuable!!! Thanks for reiterating it to me again.

The 2 worst daws ever made both are absolut trash and super akward to work with. People use these to daws cuz they have never tried anything else and all they listen to is trends not proper workflow smh. Cubase beats all daws in function and flow full stop. any REAL engineer would see that

It's good to hear you talking positively about Logic. I am a hobbyist recently demoted to using Garage Band which is extremely buggy and limited. I was concerned that Logic might be similar in shortcomings. But this video has edified me. Thanks!

You should make a template

Just finished a mix with Tone Projects Michelangelo into this sidecar. Really lovely.

Red VCA seems to be Chandler Little Devil, not a Focusrite Red. Great plugin and great video!

cubase? what a legend

I use logic and never do anything big or complex in it and it still crashes...slow to open also. 4 or so years ago it seemed better

Another variant of what you are hinting at: You spend some time a/b -ing a track's plugin...only to find out after a few minutes that you are bypassing the plugin on a completely different track. I constantly have to remind myself to take breaks frequently and to set myself a time limit for the amount of what to do in a session or a day.

Great drumming! Impressive musicians and cool song. Name of artist?

Recording/engineering for 60 years, if I'm not on a deadline, I like to let final mixing or mastering to sit for a day. Come back and listen tomorrow with fresh ears.

In addition to learning the first principles of audio processing and mixing, along with the fundamental tools, this insight-the one of recognising shifting and loss of perspective-has by far been the most important lesson I’ve learned and my three years of mixing. Thank you for illuminating it so plainly for us all 🙏🏽

Another great video Mark! You have a new subscriber too. I love PA plugins and have been using them since before the subscription days. Their console plugins are on pretty much all my work these days and along with my Mega XXL subscription, I have perpetual licenses for all of them. The Focusrite SC sounds great on kick more often than not too. It gets that thick and warm Neve sound but without sacrificing clarity and punch which is exactly what Rupert Neve was aiming for with this design. IMHO, he succeeded.

I really enjoyed this video Mark and concur entirely. This also fits in with the classic trap most of us have fallen into on occasion where we are debating whether or not a few tweaks have improved things or made them worse and then realised the adjustments we've been making were on a bypassed plugin or device. I'm also fascinated by consciousness too and am writing and recording an album about that very topic right now.

Lots of comments saying "great comparison," but those folks should read the video title. This video hand picked 15 ways in which Cubase is better than Logic. You can pick any DAW and come up with 15 strengths for that DAW over another. Every DAW has pros and cons. Logic has a great AI drummer that's super easy to use, and it also has the best tools for comping vocals that I've ever seen. If you want to mic a live band, Pro Tools has some best of class features for that. Reaper is more programmable and thus more powerful if you run a pro studio and routinely do repetitive tasks. Ableton Live is best for composition certain types of electronic music. And so on. I haven't had any issues with instability with Logic, so people shouldn't assume that's a universal thing. But if I couldn't run Logic, I'd run Cubase.

I've been mixing and mastering for nearly 10 years and never really thought about it like that, but this makes soo much sense. Thank you very much for sharing!

Yes! I’ve made this realization recently, but couldn’t organize my thoughts, or experiences as well as you have. It’s really changed how I mix drums, especially, and I’m so much more satisfied with what’s coming out of the speakers. Everything is breathing more. Thank you!

Agreed, although I'm possibly the odd-man-out in that my primary monitoring level is "very, very quiet." Like ~50dB, quiet enough that if someone talks in a normal speaking voice, you can't follow the music. I jump to 80dB fairly often, but only for a few minutes, generally just to see how things are hitting my body, or to help dial in things like sharpness vs. softness. But man, I LOVE dialing compression, distortions etc. at whisper volumes. You need a really, really tight room to hear transients and 50Hz at 50dB, but it's just so easy to hear what's actually cutting thru and what's playing background when the whole mix is barely reaching to begin with 🙂

good video, mate. feel free to go as esoteric as you want. philosophy of mixing music is fascinating. also, how often to take breaks while mixing? do you have a maximum amount of time you'll let yourself work on something??

I'm a live engineer first......it's a job that makes me listen to what's happening...while it's happening and fixing and balancing on the fly...and when the moment is gone it's gone. Apart from feeling good about it within myself....I only know I did well when people wish to shake my hand as they leave or punch me on the nose as they leave. I find studio work exhausting. There are so many options, so many ways to look at a problem and the result is permanent.

Agreed. I get mired in this a lot less when I work 'briskly', meaning I'm not hurried but I'm flowing from task to task crisply, decisively, never spending more than a minute or two on a given instrument or aspect of the mix before letting it go, widening my focus, noticing what other thing pings my attention, then shifting to that. Also, taking breaks more often than I want, ideally stepping outside to hear the breeze and the sounds of life, always resets my perceptual baseline. And relentlessly moving forward is critical for me; if I find that I keep wanting to circle back to something I've already addressed more than once, I try to figure out what the deeper issue is, what's actually causing the rub, because at that point what I'm hearing is not a problem, it's a symptom of something larger. I try to always stay grounded in the biggest picture possible, namely 'is this production stirring a feeling in me from the first note, and does it keep me hooked until the last?' Clarity, punch, detail, space... all that stuff is nice, but what I'm after is 'the story', a vibe that grabs hold and won't let go thru the up and downs of the dynamics, the ins and outs of the transitions, and the maybe-no-one-ever-hears-this easter eggs buried all along the way.

I wonder if you could share your plugin classification system. I really like what I see, but it went by too quickly.

I've always found that everything sounds completely different the second someone else comes in to listen.

There it go - message!

Amateur mixer here, but a human… we have many inconsistencies, some are by evolutional design. Consider the sense of smell. When we first detect a new smell, we notice it, but after it has been present for a while we no longer detect it, because it is presumed to not be a threat to us. The smell could still be there but we don’t notice it so much any more, because if it’s not something dangerous enough to cause us to fight or flight, our senses cancel it so that if a new smell presents itself, we can easily notice that one instead. The audio experience you talk about could stem from a similar primal programming. Great video and thanks for sharing your experience.

Thank you for sharing your wisdom! This truly resonates with me.

Solid advice, geez.

thank you so much, this video just helped me finish a mix I've been struggling on and overthinking for a month now.

I got the demo..some drum presets were pretty WOW for punch-but generally too complex for my tech level.. I tried it on a master bus too also pretty WOW!

wow! nice approach to treat the snare. this is Dwiki Darmawan, jazz pianist from Indonesia, surprised I just know that you mix this tune! great!!!

When I get to the point where the only changes on a mix are subtle, I usually stop. Because if I'm at 95-98% of a good mix, I reach a point where I'm more likely to make the mix worse than to fix small things and achieve perfection.

So very minimal electronic is music a blank canvas for our minds to get creative with. Because there is so much repetition, it starts creating it's own versions. And the subtle changes feel super trippy because the brain can't differentiate between its own subtle changes and those of the music itself.

It doesn't only apply to mixing and working in the studio - it's the same with listening (for pleasure or erudition) - the amount of times I have listened to, especially, longer works, especially symphonies (old and new) and they can sound like different pieces of music entirely that I like or dislike depending on where I am in my head at that moment. Great point Mark, thanks!! Every moment is different, to be appreciated for what it is (and since music is all about things unfolding over time, perhaps that is not as esoterically irrelevant to music as you - almost apologetically - imply!)

@Heron Island Studio for me and what i do musically it should always be different also long as you like what you feel rather then hearing it thinking about what you like instead of feeling what you like just pay attention to freq on your mix seeing your using buddha i will quote something Bruce lee says (Adapt what is useful, reject what is useless, and add what is specifically your own.)

The clearest and most comprehensive walk through of the Kirchhoff Eq. I can't thank you enough. Please keep doing the amazing work you do.

I agree with you . I feel that too. I ve been mixing for 30 years and figured this out lately. I am glad i am not the only one feeling this. Great video

Great advice. Make the changes with fresh ears, be bold, trust your gut, move to the next step. Don’t get bogged down in the minutiae.

🔥

For large amounts of Producers this is valuable info and I agree because it's about Objectivity. People listen to music in the context they don't have Critical Listening 15 min MAX to avoid ear fatigue. Chasing competitive loudness is boring to me and I enjoy the healthy dynamic while people don't hear what I hear. Music is Ezoteric and it's all about simplicity and different ornaments that will subliminally change the way of perception, it's called Arrangement and Less is More but sounds have to be presented differently in a way that is unpredictable but not too much. On the other hand it depends on the genre and the most important thing college, new contacts,new friends and networking in general.

For recording electronic drums in midi format, we recommend cubase 13 or logic pro?

Very interesting. And no zoom jumps or distracting background music makes listening to your ideas very enjoyable.

This is what i call being a fast musician

I haven't read any of the coments and have only watched 3mins and this is already the best video I've seen in a while.

Is to remove wax from ears.

Mixing is not the right word. placing objects in an environment in relation to each other (painting) try mixing while ur eyes watch moving pictures so u get a 'space' view on the sounds i watch in the woods walking or city walking or onboard racing stuff videos on youtube (like old MTV music videos) i guess the point is when u watch stuff u stop overthinking and start to "see" the soundstage picture thing.. for me it improves massive the decision process, everything falls naturaly into place so i t stop thinking in values and curves

Great advice.