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19:00 bro stick to marketing, bro is trying to solve climate change as a drive by shooting

Fantastic interview!

"Two adults, talking like adults" and being interrupted by commercial adverts breaking up the interview at apparently random moments.

Can someone explain what he’s referring to at 23:42 when he’s talking about the transient being closer, closer to what?

Andrew is very wise as the record companies are now suing Udio and Suno!

3:14 so just... mute the vocals?

i could listen to rory speak for hours and hours! Hopefully he makes his own podcast 🙏🏽 Great interview btw!

een din te geleik hahahahaha

😂😂😂😂😂😂😂😂

thenk you echt uit mijn hard waarom ik heb echt nooit geleert maar dit is van mij noura boukhizzou ik heb zo vol gehouden .ik heb nooit geen min mijn gevoel gevolgd . het is net of je een insrumment geen foutmaken dan gaat het niet door in mijn hoofd te veel geleuden is niet mooi

Grateful Dear Sir! 🫵🏽🙏🏽

Ogilvy never interviewed or hired me either… 🫵🏽 ONIONS!🧅🧅🧟

Let’s keep the political b.s. away from musical subjects.

Wow, Andrew is really cool, I like the way he talks so softly yet assertively

Elliot Scheiner===== Steely Dan

Steve was very wrong.

Woe!!!!!!

Nadie dice la Verdad

Fantastic !! Thank you. Very interesting !!

This aged poorly.

Let your clients send 32bit floating point files 😊

When I hear something that resonates with me I put it in my notes, this is what I wrote down; “ Know your tools well so you can use them without thinking too much about them so you don’t loose the perspective of what you’re achieving to do. The hardest part about mixing is staying creative all the time as soon as you dive in a rabbit hole you loose that. You need to be always listen as a listener to not loose perspective .” Great conversation 👌🏼

I got the 'modern' ns10's which are the CLA-10's. Changed my mixes to a different level. They're my B monitors, but I find myself working on them more, as I am getting more and more familiar with them. I should say though, these monitors are CRAP, but I believe that's the point. Where these monitors shine, other than the midrange, is also the stereo field, being sooo transparent, letting you pocket your components perfectly, giving you such a 3D mix. Another is things like reverb and being able to really understand and flesh out the tail end. To anyone considering pulling the trigger, I warn you, be prepared to be initially let down, but the reward is waiting later. Also, don't start mixing straight away, give it time and use them as 'listening' monitors to just hear your favourite music and even some of your older mixes. Once you feel confident you know what's going on, give it a shot in a project.

I have a HUGE tip when trying to avoid the screen. Get a Fighter Twister and map the controls to the plugins to it. It changed my (studio) life. Using studio one which is amazingly easy to map, but no matter how hard it is worth it. I just look down on the knobs instead of the screen. Magic right there.

Ha! Just found this a little late. But I subscribed when I heard, "I don't like the Beach Boys". Finally, there's someone else in this world...Great interview though, I learned quite a bit! Thanks!

Amazing interview. Fun fact, I’m currently watching from Addis Ababa where Rory said he may end up if he tried booking a flight on his phone. Rory you would likely love it here mate. It’s sunny, buzzing, palm trees and the best coffee in the world. Thanks for the great interview guys.

Elliot’s comments on mixing music in immersive are not aging well. I’d be very interested to hear Elliot’s take on Peter Gabriel’s interview about why his last album i/o is in immersive. I’ve been dealing with surroundsound for over 15 years and Atmos now for almost 5. I watched this interview when it came out, and I was dumbfounded. So hard to see one of my early sound heroes so disconnected from actual reality and understanding of sound as it relates to music and how we hear in real life (ITD, ILD). As far as music, think of a concert hall, immersive doesn’t mean ANY fancy panning has to occur. Binaural engines are finally starting to actually sound good. Eventually (because of the very fast development of game engines) we’ll be mixing the lower hemisphere of sound as well for full life-like experiences as/when needed. Till then, at least it’s all headed in the right direction. I still don’t understand how Elliott could be so myopic about this. Many of his comments are so off base regarding how music is actually listened to in real life. Immersive and spatial audio does not belong to a company. It literally is how we experience life aurally. Atmos (which I use and mix in) is not immersive Audio in and of itself. Atmos is simply a delivery playback container that allows for automatic/proper crash down to whatever speaker configuration/system is being used for playback including headphones at which point it switches to binaural representation of the full immersive mix. If Dolby went out of business tomorrow, immersive audio would continue. Immersive simply allows us to create audio mixes that go beyond the horizontal plane. Last time I checked humans appreciate being able to hear sound spherically. Check out the album from Peter Gabriel in Atmos (called i/o), also Quest For Fire by Skrillex. Two fantastic examples of what happens when people understand how to mix music in an amazingly artistic way that puts the listener inside the experience rather than just having sound pushed at them with traditional stereo or surround. It’s incredible on a full Atmos speakers based system, but it is also absolutely fantastic in just earbuds or headphones in binaural. For the record, I’ve been dealing with making music and sound for 3D/4D film for almost 15 years and I have never been a fan of surroundsound because of how limiting it is . When something flies over your head it should actually sound like it’s flying over your head.. Immersive audio for cinema was such a game changer and audiences are impacted by it, but don’t realize it because it matches how we hear in nature so well, that we don’t even think about it. If they were to unplug the top speakers in the middle of a gentle immersive audio rainforest scene or a high impact action scene, both would be noticed dramatically. If Elliott spent 15 minutes in my studio listening to some music mixed in Atmos, he would undoubtedly modify his statements, and I would be the first to give him full license to do so. Reality is after the first song that I would specifically choose for him to listen to we would be on the same page.

I’ve been dealing with surroundsound for over 15 years and Atmos now for almost 5. I watched this interview when it came out, and I was dumbfounded. So hard to see one of my early sound heroes so disconnected from actual reality and understanding of immersive audio and how it relates to and IS how we perceive sound in real life. It’s actually how we hear in real life (ITD, ILD). Binaural engines are finally starting to actually sound good...and keep getting better even a couple times each month (per Dolby) as the algorithms keep getting better and better. . Eventually (because of the very fast development of game engines) we’ll be mixing the lower hemisphere of sound as well for full life-like experiences as/when needed. Till then, at least it’s all headed in the right direction. I still don’t understand how Elliott could be so myopic about this. Many of his comments are so off base. Immersive and spatial audio does not belong to a company. It literally is how we experience life aurally. Atmos (which I use and mix in) is not immersive Audio in and of itself. Atmos is simply a delivery playback container that allows for automatic/proper crash down to whatever speaker configuration/system is being used for playback including headphones at which point it switches to binaural representation of the full immersive mix. If Dolby went out of business tomorrow, immersive audio would continue. Immersive simply allows us to create audio mixes that go beyond the horizontal plane. Last time I checked humans appreciate being able to hear sound spherically. Check out the album from Peter Gabriel in Atmos (called i/o), also Quest For Fire by Skrillex. Two fantastic examples of what happens when people understand how to mix music in an amazingly artistic way that puts the listener inside the experience rather than just having sound pushed at them with traditional stereo or surround. It’s incredible on a full Atmos speakers based system, but it is also absolutely fantastic in just earbuds or headphones in binaural. For the record, I’ve been dealing with making music and sound for 3D/4D film for almost 15 years and I have never been a fan of surroundsound because of how limiting it is . When something flies over your head it should actually sound like it’s flying over your head.. Immersive audio for cinema was such a game changer and audiences are impacted by it, but don’t realize it because it matches how we hear in nature so well, that we don’t even think about it. If they were to unplug the top speakers in the middle of a gentle immersive audio rainforest scene or a high impact action scene, both would be noticed dramatically. If Elliott spent 15 minutes in my studio listening to some music mixed in Atmos, he would undoubtedly modify his statements, and I would be the first to give him full license to do so. Reality is after the first song that I would specifically choose for him to listen to we would be on the same page.

Thanks for this.

34:24 was that a fart? 🤔

ADHD

For a mixing engineer he sure knows where to place that mic…

Ask the individuals in the Bronx if President Trump represents White Nationalism.

I totally agree with you anna, I love a mash-up in music. Apart from what you do I particularly like scooter doing stuff with status quo&always look on the bright side of life (monty python).Long may this continue and get the younger generation into classical music

Micro housing is such a great idea. if you walk through suburbs in London during the day. So many empty underused houses. Why spend all that money on something you not even using? I had a 4 bed in west London but spent so much time away from it. What's the point? Live outside London and boost rural economies and reduce the squeeze on London housing and therefore prices. In today's internet age most folk only need a room. In fact I know someone with a 4 bed house who only ever uses one room; her bedroom which is also her office. Ensuite. So what's the point of having all that other space??

Fascism: Govt and corporations working together to stifle the country. Did you not go through the covid travesty?

No to Pocahontas. Biden is the ultimate corrupt politician.

I worked there when Google glass was being developed and rolled out. The first thing I said was you need to work with Ray Ban because they look too much like something from Star Trek

The interviewer literally telling people that he doesn’t like the “ducking” technique is all I need to know about his mixes.

“Okay”

I get what he is saying and I agree to a certain degree, BUT..."no music worthwhile listening to since 2000"/2005"!?...there is so much music being made and A LOT of GREAT sounding stuff. Just get out from under the rock and open the mind (and ears), dude :) (and this being said, I totally respect the work that mr. Elliot Scheiner has contributed with during the years - some of the best sounding stuff - thank you a lot for that!!).

Can we get a link to where he shows how he did this ??

This is the 3rd video I’ve been watching Rory speaking. The 1st he delivered keynote on stage. 2nd a podcast interview format. and this one. All 3 is fantastic and he only have few cases that repeated. To me Rory is just a lovable person who happen to know a lots about marketing and more.

its interesting that he said AI is taking over the boring and repetitive staff, is it really? i think people are now over relying on generative AI without realising

Rory's brain seems to work 2x faster than everyone else's. Great interview.

wolf half head

Key Points 18:50 29:35 1:08:52 1:17:15

When the levee breaks hits so hard!!!!!!!!! I love the story of how they came into that drum sound. Short version is they were setting up in a house to work on the album and as they were moving the drum set in they realised how amazing the reverb of the staircase sounds and then ended up recording the drums in the staircase with mics a couple floors above. Just a coincidence, or more an opportunity fully realised. And then as Andrew Scheps says - then they just arranged around that drum sound so everything just works so great together.

saying the drums have to work is exactly how I treat gain staging. I meter the kick to around -14db and for the rest of the mix I ignore the meters until I clip - which usually I won't, because when you meter to kick to -14db things usually fall into place.

Recently Ive heard a couple ppl say 'I want my drums to be different, the 909, 808, etc. are just so boring." I just shake my head and I think "They are drums, they serve everything that you layer on top of them" I totally feel validated after hearing Andrew basically confirming the same as my thoughts.