Great advice, great style, and I love the way you said people’s first names ... and didn’t try to butcher their last names like everybody else does. Lol
its really interesting the way he said he would rather boost than cut. I know so many producers out there that look at boosting as the ''wrong'' way to go about eqing anything.
I was thinking about that, too...I think it might be because a lot of tips out there are for "beginners" or at least early-stage mix engineers like me, where we are truly not cutting nearly enough and are boosting way too much. Once you've gotten past that beginner's phase, I think you're more free to boost to your heart's content because you already know you've 1.) tracked properly and 2.) cut out what should be cut out.
It's simple! you do whatever the sound needs to fit in context of the song if you are recording in a poorly treated room then you might not want to be boosting too much that's only going to show up the problems of the bad sounding room so it might be better to do some corrective eq (cutting annoying frequencies). Nothing is wrong with boosting just do it where it's needed , the main reason why most engineers prefers cutting more than boosting is because boosting frequencies lifts the volume going to the master which means less headroom for the overall track leading to clipping plus you can sometimes achieve the same effect by just cutting low frequencies because low frequencies tend to easily mask high frequencies so cutting some low might bring out the highs without sending more volume to the master by just boosting the highs just a few examples.
Yeah I think it's quite based on the fact that Joe has a massive amount of outboard that all has a 'color'. If you you boost with that kind of outboard it usually brings out that color more than if you would cut with it. Software eq's tend not to have so much character compared to hardware Eq's.
@@K100music if you are interested I mainly master but do also mixing and production when needed specially on electronic productions. I can help you with that. Let me know
Every experienced Mixing Engineer, Producer do know and understand phase, a critical part of the song audio quality .... it seems he does it by ear and funny he never heard of it ....quite impossible ....and most likely an incredible one but even him will not escape phase 100%. There will always be leakage from mic to mic....so. bUT for those who do not....just simply take the protools single EQ and inverse the track audio and you all hear how the sound changes to a more solid performance.....not an easy task depending on how many tracks but best practice w a full set of drums.....it is fun!
+Fred Farkle Nice, great guy to have in the studio when tracking drums…but he literally showed us his oversized ball sack, proving it was the same length as a soda can LOL.
Joe, we love you and your amazing engineering & production, but the day will come when you'll understand why Scheps and others are now mixing entirely "In the Box".
Do you know the difference between doing the tracking/recording versus solely mixing someone else’s recordings? Hopefully in three years you’ve learned not to lecture people who know more than you ever will… Probably not though.
the secret ingredient to have a fat sound in the snare is to to be a Musician that is the best solid background for anybody that is in this business....so that you understand what you are working with .....the rest relies on the tools, recording techniques, mic types and instruments you use including DAW digital techniques and analog gear
No at all.....the main true goal as an artist and Sound, producer engineer is to capture the best sound in the performance with the best tools for the type of production it is....thereafter you can do whatever you want as a producer..either you learn this after 30 years in the field or you go to school and learn it in 4 years w some experience....
This was awesome, please do one with Nigel Godrich Or Ben H. Allen...would be epic.
Great advice, great style, and I love the way you said people’s first names ... and didn’t try to butcher their last names like everybody else does. Lol
This guy is amazing
Thanks for answering my questions! great video!
Phase is absolutely key!!
That's some I N T E N S E zoom pan .
I like his works with Chevelle
great information - ie drums in phase
its really interesting the way he said he would rather boost than cut. I know so many producers out there that look at boosting as the ''wrong'' way to go about eqing anything.
I was thinking about that, too...I think it might be because a lot of tips out there are for "beginners" or at least early-stage mix engineers like me, where we are truly not cutting nearly enough and are boosting way too much. Once you've gotten past that beginner's phase, I think you're more free to boost to your heart's content because you already know you've 1.) tracked properly and 2.) cut out what should be cut out.
It's simple! you do whatever the sound needs to fit in context of the song if you are recording in a poorly treated room then you might not want to be boosting too much that's only going to show up the problems of the bad sounding room so it might be better to do some corrective eq (cutting annoying frequencies). Nothing is wrong with boosting just do it where it's needed , the main reason why most engineers prefers cutting more than boosting is because boosting frequencies lifts the volume going to the master which means less headroom for the overall track leading to clipping plus you can sometimes achieve the same effect by just cutting low frequencies because low frequencies tend to easily mask high frequencies so cutting some low might bring out the highs without sending more volume to the master by just boosting the highs just a few examples.
Yeah I think it's quite based on the fact that Joe has a massive amount of outboard that all has a 'color'. If you you boost with that kind of outboard it usually brings out that color more than if you would cut with it. Software eq's tend not to have so much character compared to hardware Eq's.
Reverend Eslam I make electronic music. So i'm not sure how I would go about mixing saxophone or harmonica.
@@K100music if you are interested I mainly master but do also mixing and production when needed specially on electronic productions. I can help you with that. Let me know
considering how hard this dude fuggin rawks, he's chill as FUCK.
Every experienced Mixing Engineer, Producer do know and understand phase, a critical part of the song audio quality .... it seems he does it by ear and funny he never heard of it ....quite impossible ....and most likely an incredible one but even him will not escape phase 100%. There will always be leakage from mic to mic....so. bUT for those who do not....just simply take the protools single EQ and inverse the track audio and you all hear how the sound changes to a more solid performance.....not an easy task depending on how many tracks but best practice w a full set of drums.....it is fun!
I'd love to talk compression over breakfast burritos at Russell's with you, Mr. Barresi lol
Song?
The tip about Babies is super important.
Mike Fasono. I worked with him long ago. His nick name is "sack" lol.
+Peter Savad
I was like Mike Fasono, why do I know that name. Then you said Sack and the light went off. Worked with him also with Flo at the Cloud
+Fred Farkle Nice, great guy to have in the studio when tracking drums…but he literally showed us his oversized ball sack, proving it was the same length as a soda can LOL.
The Sack is the man.
I like how he talks like he could care less what's going on.
diregremo well because I think he understands that recording and mixing isn’t as complicated as people make it out to be.
Joe, we love you and your amazing engineering & production, but the day will come when you'll understand why Scheps and others are now mixing entirely "In the Box".
Do you know the difference between doing the tracking/recording versus solely mixing someone else’s recordings? Hopefully in three years you’ve learned not to lecture people who know more than you ever will… Probably not though.
Ummm it’s all about a hybrid setup that Maserati uses. Analog summing has way more headroom and vibe
the secret ingredient to have a fat sound in the snare is to to be a Musician that is the best solid background for anybody that is in this business....so that you understand what you are working with .....the rest relies on the tools, recording techniques, mic types and instruments you use including DAW digital techniques and analog gear
Me too I prefer mixing on a multi million dollars SSL
you can get the same sound or better w a fraction of that money
It's not supposed to be a "performance". It's a Technical task by nature. EQ is MADE for boosting. Hahaha.. yes.
No at all.....the main true goal as an artist and Sound, producer engineer is to capture the best sound in the performance with the best tools for the type of production it is....thereafter you can do whatever you want as a producer..either you learn this after 30 years in the field or you go to school and learn it in 4 years w some experience....
Lol