So many hate comments and people moaning about silly stuff lol. Nice job dude, I think I've said this before in one of your vids and I'll say it again: I really dig your mixing style and I can definitely relate to what you do, which is why I like your tutorials. I never, in a million years thought of using any sort of stereo width on an electric mono bass as you did here. Was kinda sceptical but then again I loved it. Congrats on the channel, keep up the good work.
Thanks for the tip. Bass is the one thing I struggle with to get tone - been using some of these techniques recently so it's helpful to see I'm on the right path - cheers 👍🏻
Adam Lohrbach Dont worry. I’m coming back soon. My dad got sick (was battling cancer) so I had to take a bunch of time off to take care of him. Stay tuned as I’m coming back w a channel revamp and loads of new content. I miss you guys too!!! ❤️❤️❤️😎
@@MixBetterNowTV aaaaaaaand, you just got that much more awesome and respectable in my eyes. Can't wait to have you back, but totally understand. Appreciate your heart and look forward to seeing the new content!
Sorry Pete I didn't listen to anything you said in the beginning because I was too busy signing up to your website. I'll start again! Great tips and helpful information!
Isn't it better to shape the tone while the rest of the mix is playing? Doing it while soloing lends itself to just trying to make everything sound big on it's own, and when summed will end up a wall of mud!
There's definitely people who solo a lot which may be a mistake. But then there's this whole folklore notion that you 'SHOULD NEVER EVER EVER SOLO !!!!!!!!!!' which is just as ridiculous.
Nicely put. I'm a newbie and just mixed our bands first demo.. man,, I struggled with a DI'd bass (amongst other things!) ,, I've got some nice experimenting to do .. tks heaps.. rewind/urban jam/moonrocks studio
Killed it, you get the bass player approval seal ;). Keep it up! (I enjoyed your CLA SSL Drum Mix video also, I improved my drum sound immediately after watching your vid)
Mix Better Now I know this is unrelated to this video (just watched your new one on phase correction). I am having some phase issues with synths. I use phase correction when multi-micing for rock music but I've never seen phase for synth instruments covered. Any way you could help me out? I just started working on beats for the first time this week.
Michael, I'm not a huge synth guy/user... I've personally never experienced any phase issues with synths (not saying its not an issue... just something Ive never encountered). If I HAD to guess, I'd say re-watch how I manually lined up the WAV forms by hand and then locate the multiple synths that you're having phase issues with. Make sure the wav forms are cresting in the same direction that I talk about. I'd start there. Let me know how it goes! :-)
Hi Pete, Just curious if any other EQs have the isolation feature. I have the Waves plugins as well as all the stock Pro Tools ones. thanks man, really enjoy your tips...getting better all the time.
Love this video. The Fab EQ does a great job of revealing where frequencies can be cut or shelved. Is there a UAD plugin that will do the same job? The reason I ask is because I have a Octo satellite handling the extra DSP requirement. I have been in the dark with recording bass until now. Any suggestions greatly Appreciated! Thanks for the videos!
Ty Curtis Thanks for the kind words, Ty! I'm happy you like the vids 😊 The EQ I would use on the UAD platform for soloing bands would be the Massenberg EQ. I'm a huge fan of it and highly recommend it. I'd prob be using that if I didn't already use the ProQ2. Lemme know how it works out for you! ✌🏻😁
"I like to add a little bit of chorusing to the bass, I know that might sound a little strange". Haha no it's not at all, except if you missed what happens during the 80's and especially the 90's haha ^^. Just joking, but I have one thing : You said you wanted to catch the peak with the 1176, so why using slow attack times so ? I know 1176 are daaaamn fast, so slow attack times on 1176 is still quick so I already assume the answer, but I just wanted to point that out in case someone else would wonder.
Hey Jota! Nice observation :-) I actually use the Mono-Maker section on the Brainworx Bx_Digital V3 to mono out everything below 100 hz. If I want my low end even more mono than that I'll go to my Low End "all buss" and mono it out even more. Cheers!
Hey, Bram! This is the song "The Limit" by Matt MacKelcan (www.mattmackelcan.com). The record is out but im remixing the record for him. Also very happy to hear you're enjoying the tutorial content. Cheers! ;-)
I usually find these fender basses take up to much of the spectrum and basically take over the mix. I prefer a musicman with a little bit of a scooped spectrum that leaves room for the other instruments.
Can't thank you enough for this great tutorial, I've been having trouble mixing bass - all better now! What could you recommend as substitutes for the Drawmer and Harmonizer? I'm greedy for that last 5% of the sound :)
My pleasure, +efsedita! Really stoked to hear this helped you out. In leu of the Harmonizer you can use any type of Chorus effect... If you're in Pro Tools a great stock plugin alternative is the AiR Multi-Delay... Most DAW's should have a good stock Chorus. As for the Drawmer, all thats really doing is adding a tiny tiny bit of compression and a bit of boost in the 1-5k area. So you could simply use a stock compressor with a real gentle 2:1 ratio and add a bit of midrange before it pushing the boost into the compressor :-)
Mix Better Now Cool, I'll try it out, thank you again! I wound up liking the '66 version of the B-15 over the '64 and VR, you should give it a go next time if you haven't already :) Bring on the in-depth tutorials 🙏👍
My pleasure! I love both channels! Think they really did a fantastic job modeling the B-15. Stay tuned as I have some some VERY VERY IN-DEPTH tutorials coming out soon. Make sure you're on the email list to stay in the loop (and to get your free Swag-Bag). Cheers! :-)
Jack O'Hara Hey Jack. They were actually 25 watts on the 64 bias and 30 watts on the 66. I was def thinking of speaker size when I said 15 watts! 🤦🏼♂️🙄😛 Cheers! 👍
Hey Josh! I wound up using the SVT in this video example. I'll typically pick an amp type, then speaker size, then mic type. And yes, I blend the DI Bass (raw bass) with the Bass Amp track and send both to my Bass Buss :-)
Mix Better Now really cool man! I always DI and mic up a cab in the studio, but i use logic's bass amp designer on my DI track, the avalon DI preset blows away my radial j48! And a cool feature of the plugin is that has a built in DI/amp blend, so i always dial in some svt or b15 in combo with my real amp. What a an awesome world we live in! Cheers !
There is another interpretation of that rule: In life you put 80 percent of your efforts into what is 20 percent important and 20 percent of your efforts into what is 80 percent important. Hmmmm......
I'm curious, at 9:25, you say you want to knock off the transients with the 1176 - but then you go with almost the slowest attack on there (Which I know is still very fast!) But even so, if you want to knock off transients, wouldn't you be better off having a fast attack to catch the whole transient, instead of just the part after 0.8ms?
I think I got it. I think he is confused by what the perm "attack" means when applied to compressors. He must be thinking it means the attack of the instrument and by that logic to "knock off the transients" he would make the attack on the compressor "slow". But of course, the term "attack" on compressors means the delay that the compressor waits after the start of the peak until it compresses (attenuates) the signal, thus slow attack means longer delay and that would let more of the peak go through and would actually do the opposite of what he means to do by making the peak standout as the rest of the signal after the peak is attenuated.
Subtractive EQ after tape in this video, is useless... as going to tape already cuts those frequencies out... so these steps are redundant and are actually further chipping away frequencies that could be useful in a given mix. Also, compression and eq should be the first thing you do, not coloration which already compresses and eq's... It should be Subtractive eq on individual tracks, compression... THEN tape or additive eq to sculpt the desired saturation... and that could be best in parallel. What you are doing here is going into a room, in a mansion full of other rooms, and permanently building over the door to lock you in. You are limiting yourself immensely, and encouraging others to do the same. If you want full control over your tone, you would be best to run from this video NOW.
Trevor Lee Good thing we mix with our ears and not with our eyes 👀 On an 1176, 1 is the slowest and 7 is the fastest in regards to attack and release times 🤙🏻
I am sorry but,forget the bass until you get those snare hits under control! Waayyy too loud and harsh bro. I could barely hear the bass at all without headphone bass boost .
SO MUCH BAD ADVISE Like, I don't want to be a hater, but the mix bus is not a place for effects. That's mastering and I firmly believe in keeping them as separate processes.
You never start with a layer of clear coat, except with maybe oils and that's for effect. Mastering is its own thing. The part I take specific issue with is the fact that he wants you to apply a series of plugins to the 2bus before even starting. I couldn't make it past that point. That's like putting a pane of glass between you and the canvas, if we're keeping this analogy rolling. Keep mastering as its own thing. I know a lot of guys put stuff on the 2bus, but it's just admitting defeat before even starting. Your speakers have volume knobs, turn them up, mix there. Then, turn them down and master, preferably on a different day, more preferably by someone who isn't biased about the project. Also, I wouldn't take mix advise from a guy demonstrating in an untreated room, but what do I know? I only make records...
+Guitarisforgrins the owner of the video already replied to me, youre literally adding nothing with your late reply but proving youre condescending af, whoever you are.
I'm getting tired of all this digital mixing-sessions, trying to get it right using "hundreds" of plugins. It's like putting make-up on a pig. VST's is killing music, seriously! If you record to tape, the sound is sitting right in place with minor comp/eq tweaks. With tape You don't have to squash the hell out of your mix to get a "decent" sound. That again makes you preserve a much more "punchy" sound, in addition to the "warmth". Pro-tools studios sounds boring, flat, and lifeless, and all of them sounds the same. There were much more diversity when the studios had different consoles, recorders etc. I don't mean to be rude, but I think computers is office equipment, and should never ever be used to produce music. Have a nice day! :-)
Are you talking about the time when EVERY studio had an SSL 4k, a studer A800 24 track, an Ampex ATR 102 2 track, 2 1176, 1 LA2A, a PCM 42 and an AMS RMX 16 ? It's not the tools man, it's how you use it. If you can't make your plug ins sound good, maybe you should reconsider your skills instead of putting it on the "Digital sucks, it was way better 20 years ago" argument. It's just a different way of working.
Inge... digital mixing/mastering offers so much more freedom, and the ability to create a much higher quality sounding record. Tape and consoles you speak of naturally "squash the hell out of your mix" that's why you don't have to do it intentionally! Here we are working in much higher fidelity, listen to a mix from the 60s/70s and compare it to stuff from the late 80s onwards. The sound became so much more pristine and crystal clear, maybe "warmth" in your ears is a muddy boomy mix recorded with 1 mic in a room? Listen to the first Chick Corea Elektric Band album from 1986, digitally mixed and mastered, and it sounds absolutely amazing. I'd like to hear your work if possible?
Myself and "Alchemist" both talk about how tape and consoles had a natural compression/loss of fidelity that could be described as "analogue warmth", which is not always desirable, and is achievable through alternative means digitally today. So I am not sure who you are talking to" Ksus".
If you start with good performances, recorded well, then you need minimal plugins to make it sound great. Care to add your actual point rather than just trying to insult us? Yes I am too young to have mixed on a real desk with outboard gear etc... I've been in studios with high quality vintage consoles, compressors, big racks full of gear and effects, even tape machines, but never used them myself (at my University they had a whole bunch too). Digital recording/mixing/mastering is much more flexible and high-fidelity than analog was, that's just basic fact due to the lossless factor of working in the digital domain.
That harmonizer trick makes all the difference.
Thanks man!
Awesome song, sounds like a 90's pop hit!
This is exactly how I route!
So many hate comments and people moaning about silly stuff lol. Nice job dude, I think I've said this before in one of your vids and I'll say it again: I really dig your mixing style and I can definitely relate to what you do, which is why I like your tutorials. I never, in a million years thought of using any sort of stereo width on an electric mono bass as you did here. Was kinda sceptical but then again I loved it. Congrats on the channel, keep up the good work.
Man! You have no idea how helpful this video has been in my "guitarist beginning to mix" life.
Anyone who leaves their Christmas lights up in summer is a person I tend to like.
Dave Perry Haha! Well said Dave! 🤘😜
I'm serious---everyone should have Christmas lights up in their mixing room---way better than lava lamps, IMO. :-)
Weird, not sure why the text got a strike through. YT got squirrely recently. Various things not working properly like adding vids to playlists.
Damn Hippie Hacker Consortium
5 years ago when you heard the 80/20 rule, woow man. Now its like 80% 80/20 rule vids and 20% Not annoying vids :D
Nice tutorial. The Roland Dimension-D is my go-to for that light chorus effect on bass
James Jamerson was recording through DI the Ampeg was used live,
I roda this in a brook
Dude ur awesome u just got ur-self a new subscriber...thats exactly what i was missing in my mixes. That bass sounds sweet...
Pro!!! Very comprehensive! Like a bass players dream come true. Thanks for the insight!
Thanks for the tip. Bass is the one thing I struggle with to get tone - been using some of these techniques recently so it's helpful to see I'm on the right path - cheers 👍🏻
You are missed bro! I learned a lot from you. Thank you for all you contributed.
Adam Lohrbach Dont worry. I’m coming back soon. My dad got sick (was battling cancer) so I had to take a bunch of time off to take care of him. Stay tuned as I’m coming back w a channel revamp and loads of new content. I miss you guys too!!! ❤️❤️❤️😎
@@MixBetterNowTV aaaaaaaand, you just got that much more awesome and respectable in my eyes. Can't wait to have you back, but totally understand. Appreciate your heart and look forward to seeing the new content!
Dang man that's crazy! Your content is awesome.
Sorry Pete I didn't listen to anything you said in the beginning because I was too busy signing up to your website. I'll start again!
Great tips and helpful information!
Cheers, Will! :-)
Isn't it better to shape the tone while the rest of the mix is playing? Doing it while soloing lends itself to just trying to make everything sound big on it's own, and when summed will end up a wall of mud!
I do both... I'll sculpt sounds in solo and of course in the context of the mix as well.
I literally just worked this out
There's definitely people who solo a lot which may be a mistake. But then there's this whole folklore notion that you 'SHOULD NEVER EVER EVER SOLO !!!!!!!!!!' which is just as ridiculous.
I love all your videos. They are immensely helpful. Thank you for much for sharing your knowledge.
Nicely put. I'm a newbie and just mixed our bands first demo.. man,, I struggled with a DI'd bass (amongst other things!) ,, I've got some nice experimenting to do .. tks heaps.. rewind/urban jam/moonrocks studio
super cool tips!
Very nice video, thank you very much!
Thank you very much Pete.For these very helpfull videos.
My pleasure! :-)
Hey guys, just letting you know, the 80/20 rule he is referring to is called the pareto distribution.
Killed it, you get the bass player approval seal ;). Keep it up! (I enjoyed your CLA SSL Drum Mix video also, I improved my drum sound immediately after watching your vid)
Thanks for the kind words, Michael! I appreciate it. I'm really happy to hear you've been enjoying the tutorials! :-) Cheers
Mix Better Now I know this is unrelated to this video (just watched your new one on phase correction). I am having some phase issues with synths. I use phase correction when multi-micing for rock music but I've never seen phase for synth instruments covered. Any way you could help me out? I just started working on beats for the first time this week.
Michael, I'm not a huge synth guy/user... I've personally never experienced any phase issues with synths (not saying its not an issue... just something Ive never encountered). If I HAD to guess, I'd say re-watch how I manually lined up the WAV forms by hand and then locate the multiple synths that you're having phase issues with. Make sure the wav forms are cresting in the same direction that I talk about. I'd start there. Let me know how it goes! :-)
Great Vid Bro !! 😉
Wish I could do what you do but I would run out of CPU. I have an Apollo twin and not even that's enough power.
Thanx for this knowledge. Good stuff
Hi Pete, Just curious if any other EQs have the isolation feature. I have the Waves plugins as well as all the stock Pro Tools ones. thanks man, really enjoy your tips...getting better all the time.
I think there is a keyboard shortcut with the Pro tools stock EQ !
+Martin Logan shift command
Superb, thank you
Sometimes I'll have the high pass filter cut as much as 120/140 hz on bass guitar. I love bass as a lead instrument though.
Love this video. The Fab EQ does a great job of revealing where frequencies can be cut or shelved. Is there a UAD plugin that will do the same job? The reason I ask is because I have a Octo satellite handling the extra DSP requirement. I have been in the dark with recording bass until now. Any suggestions greatly Appreciated! Thanks for the videos!
Ty Curtis Thanks for the kind words, Ty! I'm happy you like the vids 😊 The EQ I would use on the UAD platform for soloing bands would be the Massenberg EQ. I'm a huge fan of it and highly recommend it. I'd prob be using that if I didn't already use the ProQ2. Lemme know how it works out for you! ✌🏻😁
Mix Better Now thx!
Tnx 4 tips
Good video. Subbed instantly.
Thanks a bunch, Lisa! I appreciate it! ;-)
"I like to add a little bit of chorusing to the bass, I know that might sound a little strange".
Haha no it's not at all, except if you missed what happens during the 80's and especially the 90's haha ^^.
Just joking, but I have one thing : You said you wanted to catch the peak with the 1176, so why using slow attack times so ?
I know 1176 are daaaamn fast, so slow attack times on 1176 is still quick so I already assume the answer, but I just wanted to point that out in case someone else would wonder.
I have the slate virtual mix rack and have been using the eq on that, how do the results vary if I got a fab filter eq and used that instead?
A DI bass is "part of tracking bass these days ..."???? Dude, how old are you? They've been DI-ing bass since before I was a boy, like 1960!
record bass with a ribbon mic
I had no idea Kevin Owens is into mixing :D
You have the Bass group track in Stereo. It kinda mudds the mix a bit. Nice sound tho.
Hey Jota! Nice observation :-) I actually use the Mono-Maker section on the Brainworx Bx_Digital V3 to mono out everything below 100 hz. If I want my low end even more mono than that I'll go to my Low End "all buss" and mono it out even more. Cheers!
Hey man! What track is this? I like the vocals! Great explanation too, appreciate it!
Hey, Bram! This is the song "The Limit" by Matt MacKelcan (www.mattmackelcan.com). The record is out but im remixing the record for him.
Also very happy to hear you're enjoying the tutorial content. Cheers! ;-)
Great video ! thank you :)
What do you think of IK " Multimedia Ampeg SVX " compared to the UAD VST?
UAD all day long :-)
Might be time to re-evaluate... SVX 2 just came out yesterday!
Great vid Pete. Pity about the fluffed note at the start of the sequence......
Haha! We all fluff something now and again, I suppose ;-) Cheers, gravitymusicuk!
I usually find these fender basses take up to much of the spectrum and basically take over the mix. I prefer a musicman with a little bit of a scooped spectrum that leaves room for the other instruments.
This is the most Bare Naked Ladies non-Bare Naked Ladies song ever
Does this apply to bass from a vst or just when you use real instruments?
Eduardo Clough Na
Hi I tried to sign up on your web and it doesn't send a message to confirm
Can't thank you enough for this great tutorial, I've been having trouble mixing bass - all better now! What could you recommend as substitutes for the Drawmer and Harmonizer? I'm greedy for that last 5% of the sound :)
My pleasure, +efsedita! Really stoked to hear this helped you out. In leu of the Harmonizer you can use any type of Chorus effect... If you're in Pro Tools a great stock plugin alternative is the AiR Multi-Delay... Most DAW's should have a good stock Chorus. As for the Drawmer, all thats really doing is adding a tiny tiny bit of compression and a bit of boost in the 1-5k area. So you could simply use a stock compressor with a real gentle 2:1 ratio and add a bit of midrange before it pushing the boost into the compressor :-)
Mix Better Now Cool, I'll try it out, thank you again! I wound up liking the '66 version of the B-15 over the '64 and VR, you should give it a go next time if you haven't already :) Bring on the in-depth tutorials 🙏👍
My pleasure! I love both channels! Think they really did a fantastic job modeling the B-15. Stay tuned as I have some some VERY VERY IN-DEPTH tutorials coming out soon. Make sure you're on the email list to stay in the loop (and to get your free Swag-Bag). Cheers! :-)
Is it really mixing when you're changing the texture of the sound and altering in this way... Feels more like production
Why "Studio 1" and not Pro Tools?
What mic are you using?
Why does everyone duplicate their bass tracks instead of creating a pre-fx send to a second track? Does it create delay/phase issues? Something else?
Scott Nelle 6/1, half dozen to the other. Rock whatever works for you! 😊
Pretty sure an Ampeg B15 was at least 50 watts. The "15" in B15 stands for the speaker size...........
Jack O'Hara Hey Jack. They were actually 25 watts on the 64 bias and 30 watts on the 66. I was def thinking of speaker size when I said 15 watts! 🤦🏼♂️🙄😛 Cheers! 👍
I have a b15..that plug in sounds pretty damn close i was impressed
Cool, but u mixed Bass in a different way on video, then on the real record. Why?
Very nice vid! Did you wind up using the b15 in combo with the svt? And did you blend in the raw unprocesses tracks as well?
Hey Josh! I wound up using the SVT in this video example. I'll typically pick an amp type, then speaker size, then mic type. And yes, I blend the DI Bass (raw bass) with the Bass Amp track and send both to my Bass Buss :-)
Mix Better Now really cool man! I always DI and mic up a cab in the studio, but i use logic's bass amp designer on my DI track, the avalon DI preset blows away my radial j48! And a cool feature of the plugin is that has a built in DI/amp blend, so i always dial in some svt or b15 in combo with my real amp. What a an awesome world we live in! Cheers !
That sounds like a killer setup! And, you bet! Good times indeed! :-) Cheers, Josh
Mix Better Now lets enjoy our toys and fun stuff right?! Cheers man!
HAHA! Amen, brother ;-)
Hmm, well that's one way to mix a bass with what... 11 plugins? I tend to use the "Less is More" method. But hey, it's all subjective.
There is another interpretation of that rule:
In life you put 80 percent of your efforts into what is 20 percent important and 20 percent of your efforts into what is 80 percent important.
Hmmmm......
I'm curious, at 9:25, you say you want to knock off the transients with the 1176 - but then you go with almost the slowest attack on there (Which I know is still very fast!)
But even so, if you want to knock off transients, wouldn't you be better off having a fast attack to catch the whole transient, instead of just the part after 0.8ms?
I think I got it. I think he is confused by what the perm "attack" means when applied to compressors. He must be thinking it means the attack of the instrument and by that logic to "knock off the transients" he would make the attack on the compressor "slow". But of course, the term "attack" on compressors means the delay that the compressor waits after the start of the peak until it compresses (attenuates) the signal, thus slow attack means longer delay and that would let more of the peak go through and would actually do the opposite of what he means to do by making the peak standout as the rest of the signal after the peak is attenuated.
Polishing turds. Am I the only person who hears crunch, cardboard tubing, and smear?
You could probably achieve the same sound you are after with two or three plugins max. Too much processing.
Subtractive EQ after tape in this video, is useless... as going to tape already cuts those frequencies out... so these steps are redundant and are actually further chipping away frequencies that could be useful in a given mix. Also, compression and eq should be the first thing you do, not coloration which already compresses and eq's... It should be Subtractive eq on individual tracks, compression... THEN tape or additive eq to sculpt the desired saturation... and that could be best in parallel. What you are doing here is going into a room, in a mansion full of other rooms, and permanently building over the door to lock you in. You are limiting yourself immensely, and encouraging others to do the same. If you want full control over your tone, you would be best to run from this video NOW.
21.00 that doesn't look like a fast release and slow attack....
Trevor Lee Good thing we mix with our ears and not with our eyes 👀 On an 1176, 1 is the slowest and 7 is the fastest in regards to attack and release times 🤙🏻
I am sorry but,forget the bass until you get those snare hits under control! Waayyy too loud and harsh bro. I could barely hear the bass at all without headphone bass boost .
Please use a pop filter...
This actually seems like a terrible idea. Especially on your master bus. You'll lose focus to the original sound.
SO MUCH BAD ADVISE
Like, I don't want to be a hater, but the mix bus is not a place for effects. That's mastering and I firmly believe in keeping them as separate processes.
Thanks for your opinion! I hope you have an awesome day :-)
Mix Better Now there's only one way of painting I guess...
jrcenina85 yea, you don't start with a layer of clear coat...
So, Picasso always started with clear coat?
You never start with a layer of clear coat, except with maybe oils and that's for effect.
Mastering is its own thing. The part I take specific issue with is the fact that he wants you to apply a series of plugins to the 2bus before even starting. I couldn't make it past that point. That's like putting a pane of glass between you and the canvas, if we're keeping this analogy rolling.
Keep mastering as its own thing. I know a lot of guys put stuff on the 2bus, but it's just admitting defeat before even starting. Your speakers have volume knobs, turn them up, mix there. Then, turn them down and master, preferably on a different day, more preferably by someone who isn't biased about the project.
Also, I wouldn't take mix advise from a guy demonstrating in an untreated room, but what do I know? I only make records...
why the FUCK is this video half an hour?? get to the point
HoshiHearts RetroGaming You're more than welcome to watch a different, shorter, free video 👍👌 Hope you have a great day 😊
It's no one else's fault that you don't have an attention span.
+Guitarisforgrins the owner of the video already replied to me, youre literally adding nothing with your late reply but proving youre condescending af, whoever you are.
I'm getting tired of all this digital mixing-sessions, trying to get it right using "hundreds" of plugins. It's like putting make-up on a pig. VST's is killing music, seriously!
If you record to tape, the sound is sitting right in place with minor comp/eq tweaks.
With tape You don't have to squash the hell out of your mix to get a "decent" sound.
That again makes you preserve a much more "punchy" sound, in addition to the "warmth".
Pro-tools studios sounds boring, flat, and lifeless, and all of them sounds the same.
There were much more diversity when the studios had different consoles, recorders etc.
I don't mean to be rude, but I think computers is office equipment, and should never ever
be used to produce music. Have a nice day! :-)
Are you talking about the time when EVERY studio had an SSL 4k, a studer A800 24 track, an Ampex ATR 102 2 track, 2 1176, 1 LA2A, a PCM 42 and an AMS RMX 16 ? It's not the tools man, it's how you use it. If you can't make your plug ins sound good, maybe you should reconsider your skills instead of putting it on the "Digital sucks, it was way better 20 years ago" argument. It's just a different way of working.
BURN!
Inge... digital mixing/mastering offers so much more freedom, and the ability to create a much higher quality sounding record. Tape and consoles you speak of naturally "squash the hell out of your mix" that's why you don't have to do it intentionally! Here we are working in much higher fidelity, listen to a mix from the 60s/70s and compare it to stuff from the late 80s onwards. The sound became so much more pristine and crystal clear, maybe "warmth" in your ears is a muddy boomy mix recorded with 1 mic in a room?
Listen to the first Chick Corea Elektric Band album from 1986, digitally mixed and mastered, and it sounds absolutely amazing. I'd like to hear your work if possible?
Myself and "Alchemist" both talk about how tape and consoles had a natural compression/loss of fidelity that could be described as "analogue warmth", which is not always desirable, and is achievable through alternative means digitally today. So I am not sure who you are talking to" Ksus".
If you start with good performances, recorded well, then you need minimal plugins to make it sound great. Care to add your actual point rather than just trying to insult us? Yes I am too young to have mixed on a real desk with outboard gear etc... I've been in studios with high quality vintage consoles, compressors, big racks full of gear and effects, even tape machines, but never used them myself (at my University they had a whole bunch too). Digital recording/mixing/mastering is much more flexible and high-fidelity than analog was, that's just basic fact due to the lossless factor of working in the digital domain.
stop lip smacking omfg