SIngle best piece of advice I have ever taught about how to get your low end right is.................FIX YOUR ROOM. I have always held the opinion that outside of the actual performance itself, after we all know how easy it is to mix a GREAT band compared to a terrible one the single biggest 'trick' (although I do not believe tricks exist just good habits and technique) is to sort out the space you are mixing in. And no, headphones are NOT a substitute when it comes to mixing (imho). If you have 400 quid to spend on speakers, spend 200 on something 2nd hand and trustworthy and 200 quid on getting as much bass trapping as you can (build it if you have to, it's not rocket science). So many people trying to mix in tiny spaces. Often with speakers far too big for the room. And the room simply not being treated in any meaningful manner. Get the room working first. Then worry about your speakers. The rest will come. No plugin or outboard can fix a lowend that you are not hearing correctly in the first place. So many videos about how to fix X or Y or this one trick!!!!!!!!!!! And hardly anyone talks about the room and the interactions between speakers and the space in which they sit. If you can't hear it you can't mix it, but more likely in these cases what you are hearing is totally wrong and swamped by the room modes that you can't fix it either. It might be fixed in your room, but it won't translate. FIX YOUR ROOM. The rest will come. Please don't take this as a dig or an attack, I was not singling out you with my comment about this one trick!!!!! It was just something I've been thinking about a lot recently as RUclips reccomends me so many shorts with clickbait titles.
Hi Warren. For a long time I was using a utility plug on all individual tracks or sometimes just the Two-buss to mono all elements below 120Hz for clarity but recently I've been told this is a terrible idea as it will destroy my low end. Is it a good or bad idea? Can you please share your thoughts on this. Thanks
Hey Warren, your red monitors have the bassports on the inside of the setup. Did you ever try the other way around? The ports are extensions of the bass, so in my mind you want that on the outside of the sound image ?
Ah, my bruthas! Eric congrats on 10 years, your work is much appreciated! Warren, glad to see you let that hair grow out. You guys are the best! Not experts,... but the BEST!
Low End! You wrapped up several great points! I think it is very important to make a choice for each song (hopefully early on) about how you want the kick and bass to share the available bottom end. Every song/style is different. The low end sharing (and EQ choices) between bass and kick can be so different and still effective. from The Kinks - Lazy Afternoon to Tom Petty - American Girl to Fountains Of Wayne - Stacy's Mom to Metallica - Enter Sandman to Bob Marley - Could You Be Loved.
It's a very common trick to use a multiband compressor on the low-mids in metal music. Really, it's a good idea for any rhythm guitars, but especially ones with palm mutes.
Hi !! You are truly a Genuine Genious with Music . Every time in the last 6 or 7 years that I've needed Solutions or Answers to my Mixing issues I've always searched your Library of Videos and found the Advice I needed . So I thank you for the time and work that you put in to creating all of these Amazing Videos . And Thank You for Sharing your Knowledge and Skills with all of us . I'd really like to meet you someday , but I have no idea where you live . And I live in Upstate New York . So the chances of us actually meeting anytime is probably pretty close to Zero . But anyway , thank you for doing what you do . I hope you and your Family are doing well and staying safe . 🎸🎹🔉🎹🎸
Always such a charming, witty lad, Warren. The very last thing you said about juxtaposing the unexpected - I am absolutely sure you would really go for my stuff. It's pop, but pop with a difference.
🦉Getting the low end sitting correctly is difficult. For me, it makes the difference between an "amateur mix" and "pro mix". I just purchased some decent bass IR's which really helps✌️😁 Gotta ❤️PLAP!
Since I really started making heavy use of multiband compression, I've noticed my mixes have improved. I've been doing this for awhile but I don't remember anybody explaining the importance of multiband compressors, which is weird because I don't even know how to mix without them now. The only thing I can think of is that for whatever reason multiband compression wasn't as important in older analog workflows or something. It seems like it's essential in digital however, both for the low end, but also for controlling digital sterility and harshness around 2.5k
I used to have an M-Audio ProjectMix I/O, which is an old control surface with a built-in interface. It served me well, don't get me wrong, I recorded with that thing for years. But it was more focused on the control surface, and the preamps left something to be desired. The output sound quality was perfectly fine, but the level knob for the monitor output was stepped in 3dB intervals, and that always annoyed the crap out of me. I remember getting the Saffire Liquid 56 and just instantly falling in love with the smooth action of the monitor control knob. I'm still using the Saffire Liquid 56 by the way. It's doing great except for the 2nd headphone output, it's developed some weird distortion even at low levels.
I don't know why I never considered the quality of the interface with the mixing playback. I had always used a Focusrite Scarlett with the Kali 6 monitors because I wasn't really doing any recording. I'm just using it to send a signal from the DAW to the speakers. Does the Scarlett have deficiencies with its playback that make a significant difference in mixing?
I love this channel! My producer said I should high pass my voice at 30k because everything below that sounds awful. When I sing my wife goes to the neighbors house just so they'll know she is not stabbing me in the throat. She's afraid they'll call the police.
Hi Warren! I have been using your low end tip for some time now in live sound and I works very good. But not every song is mixed like that. I would love to see you live mix a song where the bass gets the most sub and not the kick. Trustfall from Pink is one off those songs where the bass is driven with a lot of sub that puts the song into a subby blanket. Always nice to learn something new, thx Warren you surely lifted my mix🙏
Hi Warren, I have a question. Is it a good idea to invest in hardware EQs that mainly sound very musical and have rather wide filters to emphasize and/or bring out the good things, and then remove the rather annoying frequency with plugins (to notch out or to do a more Pultec-like "cut")? I ask it because I bought a very nice pair of EQ's (Interphase Audio Iridium 500). They sound extremely good (4-bands inductor) but are no low or hipass filters on it and they have a fixed Q.
Does Waves Maxxbass do essentially what Rbass does with the low end? I’ll have to research myself but wondering if you have any insight as I have been using Maxxbass Thanks
I high pass all the time thanks to you Warren and do LCR mixing. It creates so much space, clarity, keeps things clean and requires less subtractive eqing, compression and all sorts of trickery and fiddling around.
I didn’t get a chance to listen to the whole faq Friday. I would like to know if you wrote and mixed the music for PLAP opening and ending. If so would you be wiling to do a video, and walk us through it or something similar? Thx Warren.
Great answers, Warren. Thanks. Actually, the best thing you can do is NOT choose the right tools for the genre. Go the opposite way. Choose the thing you would not expect to use. Do a metal song with a piano. Play a clean guitar for a heavy track. I don't know, just don't do the obvious. It would get you to places you might have never been at, and that might spike an idea, a thought, a something to get your creativity going. Just saying'
Greetings and help me please Good video... I have a question that is a bit out of context. When connecting a preamp to the Audient sound card, the gain of the Audient must be set to zero and control gain and out from the preamp??? Or should the gain of the Audient be in half and give less gain to the preamp??? Please explain to me, teacher, enlighten me... Thanks in advance, I hope you can help me. Blessings.
First thank you for doing these videos & the shorts, for someone who is still learning they are great. I have recently installed headphone calibration software. It is very good to hear things flat to ensure I'm getting the sound I want. But I noticed during mixdown that balancing the volume tracks it's better to have it off. The reason being because it is adjusting frequencies to give a flat response so it changes the output volume. So for me precision is not possible unless I do that. I also noticed that if a bass sound is strong & the output of the plugin is set 0db it will distort the bass. (SoundID Reference Headphones version by Sonareorks) Is there any other pitfalls that you know of & am I using it right based on what I described above.
I think your hair's great, Warren. But I like the messy-casual look. I treat my hair like yours, but sadly it doesn't stick up off my head in as glorious a way.
How could I ask a better question in the google search engine to obtain a more accurate search or what websites do you recommend to find a slightly more technical and specialized review on a specific producer or one of his tracks?
If decided to move to the analog world would the 2 bus be the wisest place to start as far as gear ? Been thinking about building a 500 series chain. Oh and Eric has to represent !!!
FAQ: RUclips is filled with mix videos, primarily. Not a lot about mic placement, though some about effects chain going in and mic choice. When recording vastly different genres or sounds, our mic placement and choices also as vastly different? Between recording, say, jazz and heavy-metal? What is universal and what varies a lot for genre or volume?
A drum mix question... I have one cymbal (a china type) that is significantly louder than the other cymbals. Is there a practical way to tame it? One thing we tried was moving it as far away from the overhead mics as possible. Getting a drummer to selectively reduce his power when going to that cymbal is difficult and inconsistent at best.
OK, I'm going to ask the question because most will probably shy away from asking it. What do you think of people who mix after taking a few hits of weed? I have a friend, oh let's call him Schmozzie, who insists that when he's stuck during a mix, a few hits of the marihuana help him hear the in between vibe, if you will, and make his mixes come out better. Not asking for me, For Schmozzie. Thank You, Ozzie.
@@Producelikeapro , I came of age in the 80s! I owned a fairly high end, recording studio in Midtown Manhattan, Chelsea to be exact. When we first opened, I did what most young adults would do, I went up to Mannys, which is a classic. New York, institution the best salesman and I am really sad that they no longer exist . Bought out by Sam’s.Ass!!🤣 Anyway, it was a soundcraft ghost . VCA automation, etc. but honestly the board sounded really great. classic British EQ ! At the time for the money, you couldn’t beat it . At least that’s my opinion .I started with the black face Adats, 3 of them linked with a BRZ, then eventually I upgraded to the M20’s 20 bit, you know what the hell I’m talking about. Had a brief stint with the DA-88. Some people say they sounded better. I know they were more popular on the West Coast obviously for film reasons. Then I moved rebuilt the real way, room inside of a room probably about 22 inches of proper soundproofing, and a air gap of another 5 inches beams, floor ceiling, etc. were floated on neoprene pucks . There is a store on Canal Street in Chinatown Manhattan , called Mr. Plastic. I bought 35 , 4/8 sheets of neoprene at a inch and a half thick. I cut the shit with my bare hands, . Thank God halfway through I took my mothers consumer grade electric knives. My mother had one literally burnt it out at the last sheet that I cut, no bullshit !!!!!Then I upgraded to an, Amek TAC scorpion. I’ve heard you mention that you owned one yourself. Then rebuilt again in the mid/ late 90s! They gave me a 15 year lease. That never happens anywhere in New York City five boroughs for commercial and residential leases So I went balls deep on this build! Three control rooms, For isolation rooms . One of them had my Yamaha G6 baby grand. oddly enough, my ear always told me that the piano is very bright!! Which I know they’re known for. You can darken a piano with packing blankets. I’m sure you know what I’m speaking of, but it’s very hard to brighten up a dark piano/steinway, etc. The main room had a Amek, Langley BIG desk. I went nuts with that thing!!! Put an Neve center section in with a step attenuator. This was around the time of the, 9098! When, Rupert was building desks for Amek!! I know you remember those days! I actually met him at CES, and when I told him I put a 9098i in the Langley big. He thought I was crazy.!! he continued to talk to me about how it was possible to fit one of those cards in that desk. My whole bus system plus the first 8 channels, were 9098! Cards. The man had a Brilliant mind very humble and one of the most amazing people I ever had the privilege to met. He was talking shit that I didn’t even get at the time of my young life. But when he asked me how I made it fit., I looked at him and I said, Rupert you should know better than to ask me that question!!! 😜 I have beat teck in the city. and he’s a phenomenal fabricator as well. He laughed and said stupid comment kid, I don’t know what the hell I’m thinking. I quickly learned that a commercial studio unless you’re getting totally vintage, it’s best to lease a desk. If it breaks just send it back. Now I’v been doing everything in the box. I ended up boxing Up 8 channels of the 98i before that was the norm. Because, like I mentioned, before my tech is a motherfucking monster. He actually made a Mackie meter bridge fit in the Langley big, when the lights started burning out! I know you’re familiar with that shit. Anyway, I wanna go back to my roots and get a desk as my front end. I’m not super familiar with, Audient desks. I am a UA, audio guy, forever!! a couple of 610s as well 1186’s. I had the old purple faced apogee converters. The big Ben is one of the best clocks I’ve ever worked with. I dare say that, black lion is a newer brand with similar characteristics. I was thinking of maybe a trident, but I need to have individual cards. There is no goddamn way I’m going to , pull the whole top of a desk off to replace a feeder, a capacitor, etc. !!!! I did it with my ghost , never again!! I would get one of those small API’s , but I know myself and I’ll go down the 500 Siri’s rabbit hole of outdoor gear!! at that point I’m just an audio junkie!! that’s exactly why I chose not to fuck with it. So I really want to know your opinion, on a front end analog desk??? If I were buying used, the most I could come up with is maybe 26K. I am more likely going to lease. my apologies for the long winded response. I really love your fucking channel and I’ve been in the game my entire life. Duke Ellington is my godfather. My father had me when he was 62 years old with a 37-year-old mother. We were poor, but I always had instruments, those were my toys. We had a humongous Hammond organ in the living room of the apartment with my folks. Mind you, we lived in the projects. Your side of the pond would refer to it as an estate. 🤣 He was on the road playing tennis sax at 15 with Count Basie then He went to Ellington. Also Went to Cab Calloway.. His name was Skip Williams, tennis sax!! They were drinkers they smoked reefer, and none of those swing cats fucked with powder!!! That came with bebop!! So if you can ponder for me when you have the time of course, what you would do if you were in my situation. One more thing I failed to mention, I recently signed a deal with DFI ( LCD Soundsystem) James Murphy’s label . Fantastic cat /dude, we have the same first name ironically. I’m working out of my home, I don’t need more than 16 inputs. 24 at the most if acquired used. I also don’t wanna deal with huge power supplies. you know that most cats leave their desk on. I am blessed to have clean electric.!!!!! thank goodness!! Apologies for the long winded question. We are from the same era and blessed to work in a creative professional situation, and loving every minute of it!! I’m actually going to be in LA during next pilot season, I do a little scoring for TV. Would love to come through the studio and get a chance to meet you, face-to-face. Sorry for any typos, Blessings from L.E.S / N.Y.C. Any advice would be gratefully appreciated Give thanks!! JIM Williams. PS. The studio was called Night Owl.. there still a bunch of stuff on the net about, the spot, an the artists we worked with 🤟🏼
Multiband on an instrument with uneven low end makes sense to me. But what about a bass that is sampled? Isn't that already consistent enough? It's true, recorded bass live has to have an expert bass player to have consistent low end, and the acoustics have to have no real peaks and valleys in the studio for non-DI bass. But this does not really apply to sampled bass, does it? I do use a multiband on the full mix and I do EQ kick and bass to not interfere with each other, but would adding a multiband to a bass where the low end is already consistent be of any value?
In the last production I made, the bass sounded fine on basically all devices, including several cars. But then in one car of a friend of mine, the bass guitar was suddenly WAAAAY louder than anything else. And it's just my production, other music sounds fine in that car. Any idea what the cause for this might be?
What are some of the questions you would like answering on FAQ Friday? Let me know below!
Any tips on when to use a delay vs reverb. And when to use a short vs long verb
Thanks
SIngle best piece of advice I have ever taught about how to get your low end right is.................FIX YOUR ROOM. I have always held the opinion that outside of the actual performance itself, after we all know how easy it is to mix a GREAT band compared to a terrible one the single biggest 'trick' (although I do not believe tricks exist just good habits and technique) is to sort out the space you are mixing in. And no, headphones are NOT a substitute when it comes to mixing (imho). If you have 400 quid to spend on speakers, spend 200 on something 2nd hand and trustworthy and 200 quid on getting as much bass trapping as you can (build it if you have to, it's not rocket science). So many people trying to mix in tiny spaces. Often with speakers far too big for the room. And the room simply not being treated in any meaningful manner. Get the room working first. Then worry about your speakers. The rest will come. No plugin or outboard can fix a lowend that you are not hearing correctly in the first place. So many videos about how to fix X or Y or this one trick!!!!!!!!!!! And hardly anyone talks about the room and the interactions between speakers and the space in which they sit. If you can't hear it you can't mix it, but more likely in these cases what you are hearing is totally wrong and swamped by the room modes that you can't fix it either. It might be fixed in your room, but it won't translate.
FIX YOUR ROOM. The rest will come. Please don't take this as a dig or an attack, I was not singling out you with my comment about this one trick!!!!! It was just something I've been thinking about a lot recently as RUclips reccomends me so many shorts with clickbait titles.
Hi Warren. For a long time I was using a utility plug on all individual tracks or sometimes just the Two-buss to mono all elements below 120Hz for clarity but recently I've been told this is a terrible idea as it will destroy my low end. Is it a good or bad idea? Can you please share your thoughts on this. Thanks
Juxtaposition! 🤗
Hey Warren, your red monitors have the bassports on the inside of the setup. Did you ever try the other way around? The ports are extensions of the bass, so in my mind you want that on the outside of the sound image ?
Of all the fantastic pro audio folks on RUclips, I find that I learn something *every* time I watch Warren and PLAP crew.
Keep on rockin'!
Much appreciated!
Because warren is a pro and not some RUclipsr claiming to be such
@@cured_bacon647 you're very kind. I am blessed to be able to make music for a living!
I watched so many Videio before I joined, Warrens's methods and explanations spoke to me.
You're the best! Clear, precise and unbelievably knowledgeable! Hooray!
Wow!! Thanks ever so much
Great stuff. Glad to see FAQ Friday back with lots of good questions and good answers. Thanks very much
Thanks ever so much Joey!
Stoked you used my question on low end! Thank you for focusing on all instruments! Awesome!!
Thanks ever so much! Any time!
Ah, my bruthas! Eric congrats on 10 years, your work is much appreciated! Warren, glad to see you let that hair grow out. You guys are the best! Not experts,... but the BEST!
Eric Rocks!
This Brit’s channel is absolutely amazing!! the amount of knowledge that I’ve accumulated from knowing absolutely nothing it’s just insane
Low End! You wrapped up several great points! I think it is very important to make a choice for each song (hopefully early on) about how you want the kick and bass to share the available bottom end. Every song/style is different. The low end sharing (and EQ choices) between bass and kick can be so different and still effective. from The Kinks - Lazy Afternoon to Tom Petty - American Girl to Fountains Of Wayne - Stacy's Mom to Metallica - Enter Sandman to Bob Marley - Could You Be Loved.
I love Waves R Bass to get me in the ballpark quickly, high pass and compression.
Thanks ever so much for sharing!
6:07 Thanks for bring this out. I've done this and shown some folks this trick and it just plain works.
ive seen you mix bass guitar using R bass and then MV2, this is my favorite chain,
Marvellous!! Thanks ever so much
Multi band compression on electric guitar is a brilliant idea, especially on high SPL cabinets. I will test this on a guitar bus tonight.
Go for it!
It's a very common trick to use a multiband compressor on the low-mids in metal music. Really, it's a good idea for any rhythm guitars, but especially ones with palm mutes.
@@rome8180 very well said!
Thanks for sharing Warren and Eric!!
Thanks ever so much
"If you high pass, you'll get more low end then if you don't high pass."
so true! even for sub bass (and sub kick for that matter)
Exactly
Very true
Hi !! You are truly a Genuine Genious with Music . Every time in the last 6 or 7 years that I've needed Solutions or Answers to my Mixing issues I've always searched your Library of Videos and found the Advice I needed . So I thank you for the time and work that you put in to creating all of these Amazing Videos . And Thank You for Sharing your Knowledge and Skills with all of us . I'd really like to meet you someday , but I have no idea where you live . And I live in
Upstate New York . So the chances of us actually meeting anytime is probably pretty close to Zero .
But anyway , thank you for doing what you do . I hope you and your Family are doing well and staying safe . 🎸🎹🔉🎹🎸
"Hair-ic" 😂😂😂😂😂😂😂....Argentinian man here!!...loving your sense of humor!!!❤😂
Marvellous!
Thank you very much Warren for the awesome inputs in mixing! You are the best! Very clear and well explained!!!
Always such a charming, witty lad, Warren. The very last thing you said about juxtaposing the unexpected - I am absolutely sure you would really go for my stuff. It's pop, but pop with a difference.
Thanks ever so much! I'm glad you enjoyed the video!
Oh go on. Have a listen. 😉
What a terrific pair!
Aw shucks! Thanks ever so much!
We need to get behind the scenes with Eric on what it's like working with Warren and crew.
Yes! Marvellous idea!
Hope you're doing marvellously well.
Free dynamic eq (if you don't have a multiband comp) - TDR Nova. If anyone did not know this one, you're welcome.
Never too old for a rap career
Hahahah I AM!
@@Producelikeapro You know it's only a matter of time before Hammer attempts another comeback.
🦉Getting the low end sitting correctly is difficult. For me, it makes the difference between an "amateur mix" and "pro mix". I just purchased some decent bass IR's which really helps✌️😁 Gotta ❤️PLAP!
Since I really started making heavy use of multiband compression, I've noticed my mixes have improved. I've been doing this for awhile but I don't remember anybody explaining the importance of multiband compressors, which is weird because I don't even know how to mix without them now. The only thing I can think of is that for whatever reason multiband compression wasn't as important in older analog workflows or something. It seems like it's essential in digital however, both for the low end, but also for controlling digital sterility and harshness around 2.5k
🤣 Hilarious! Thanks for the 'SHOUT OUT' guys! # TEAMERIC!!!! Great info too!!!
Muchas gracias. !!!
Thanks ever so much!
Rbass is awesome, I've been using Waves MaxxBass too, basslane seems very cool, but I still need to learn how to use properly.
Thanks ever so much for sharing!
McDSP! What a great company. ❤
I used to have an M-Audio ProjectMix I/O, which is an old control surface with a built-in interface. It served me well, don't get me wrong, I recorded with that thing for years. But it was more focused on the control surface, and the preamps left something to be desired. The output sound quality was perfectly fine, but the level knob for the monitor output was stepped in 3dB intervals, and that always annoyed the crap out of me. I remember getting the Saffire Liquid 56 and just instantly falling in love with the smooth action of the monitor control knob.
I'm still using the Saffire Liquid 56 by the way. It's doing great except for the 2nd headphone output, it's developed some weird distortion even at low levels.
I don't know why I never considered the quality of the interface with the mixing playback. I had always used a Focusrite Scarlett with the Kali 6 monitors because I wasn't really doing any recording. I'm just using it to send a signal from the DAW to the speakers.
Does the Scarlett have deficiencies with its playback that make a significant difference in mixing?
I love this channel! My producer said I should high pass my voice at 30k because everything below that sounds awful. When I sing my wife goes to the neighbors house just so they'll know she is not stabbing me in the throat. She's afraid they'll call the police.
Hi Warren! I have been using your low end tip for some time now in live sound and I works very good. But not every song is mixed like that. I would love to see you live mix a song where the bass gets the most sub and not the kick. Trustfall from Pink is one off those songs where the bass is driven with a lot of sub that puts the song into a subby blanket. Always nice to learn something new, thx Warren you surely lifted my mix🙏
Roar from Katy Perry might be a better example
Hi Warren, I have a question. Is it a good idea to invest in hardware EQs that mainly sound very musical and have rather wide filters to emphasize and/or bring out the good things, and then remove the rather annoying frequency with plugins (to notch out or to do a more Pultec-like "cut")? I ask it because I bought a very nice pair of EQ's (Interphase Audio Iridium 500). They sound extremely good (4-bands inductor) but are no low or hipass filters on it and they have a fixed Q.
that audient console looks sweet
Does Waves Maxxbass do essentially what Rbass does with the low end? I’ll have to research myself but wondering if you have any insight as I have been using Maxxbass Thanks
Yes, Maxxbass is actually more flexible, I just like the dumbness of RBass!
Twist emoji, 😊🍩Eric!
Haha indeed!
I high pass all the time thanks to you Warren and do LCR mixing. It creates so much space, clarity, keeps things clean and requires less subtractive eqing, compression and all sorts of trickery and fiddling around.
That's wonderful to hear!
Glad to be able to help!
I didn’t get a chance to listen to the whole faq Friday. I would like to know if you wrote and mixed the music for PLAP opening and ending. If so would you be wiling to do a video, and walk us through it or something similar? Thx Warren.
Yes, that's me on guitar and bass and Matt Starr on drums!
Great answers, Warren. Thanks. Actually, the best thing you can do is NOT choose the right tools for the genre. Go the opposite way. Choose the thing you would not expect to use. Do a metal song with a piano. Play a clean guitar for a heavy track. I don't know, just don't do the obvious. It would get you to places you might have never been at, and that might spike an idea, a thought, a something to get your creativity going. Just saying'
Great FAQ Friday.
With that high hair... So there is the Heat Miser, the Freeze Miser, is Eric the Sound Miser?
Haha Hairtastic! HairRic!
Greetings and help me please
Good video...
I have a question that is a bit out of context.
When connecting a preamp to the Audient sound card, the gain of the Audient must be set to zero and control gain and out from the preamp??? Or should the gain of the Audient be in half and give less gain to the preamp??? Please explain to me, teacher, enlighten me... Thanks in advance, I hope you can help me. Blessings.
Hi Eric!
Errrrrriiiiiiiiicccccck!
First thank you for doing these videos & the shorts, for someone who is still learning they are great.
I have recently installed headphone calibration software. It is very good to hear things flat to ensure I'm getting the sound I want. But I noticed during mixdown that balancing the volume tracks it's better to have it off. The reason being because it is adjusting frequencies to give a flat response so it changes the output volume. So for me precision is not possible unless I do that. I also noticed that if a bass sound is strong & the output of the plugin is set 0db it will distort the bass.
(SoundID Reference Headphones version by Sonareorks)
Is there any other pitfalls that you know of & am I using it right based on what I described above.
I think your hair's great, Warren. But I like the messy-casual look. I treat my hair like yours, but sadly it doesn't stick up off my head in as glorious a way.
Haha thanks ever so much! It’s just the wake up and get to work look!
awesome
Thanks ever so much!
How could I ask a better question in the google search engine to obtain a more accurate search or what websites do you recommend to find a slightly more technical and specialized review on a specific producer or one of his tracks?
Is R Bass the foundation upon which Bass Rider was built?
Waves Nod here....
RBass I believe, (I could be wrong!) is a simplified version of MaxxBass, at least that’s how I think of it! Haha
If decided to move to the analog world would the 2 bus be the wisest place to start as far as gear ? Been thinking about building a 500 series chain. Oh and Eric has to represent !!!
FAQ: RUclips is filled with mix videos, primarily. Not a lot about mic placement, though some about effects chain going in and mic choice. When recording vastly different genres or sounds, our mic placement and choices also as vastly different? Between recording, say, jazz and heavy-metal? What is universal and what varies a lot for genre or volume?
Thoughts on Thomas Dolby?
HUGE Fan!
A drum mix question... I have one cymbal (a china type) that is significantly louder than the other cymbals. Is there a practical way to tame it? One thing we tried was moving it as far away from the overhead mics as possible. Getting a drummer to selectively reduce his power when going to that cymbal is difficult and inconsistent at best.
Hi Arik!! 😁
Any special considerations for baritone guitar? Not something that comes up often here, but I am curious.
Warren, What room are you filming this in? Is that your big room? Where's the SSL?
This is our new studio!
@@Producelikeapro Have you done a video tour yet? Can't wait to check it out!
OK, I'm going to ask the question because most will probably shy away from asking it. What do you think of people who mix after taking a few hits of weed? I have a friend, oh let's call him Schmozzie, who insists that when he's stuck during a mix, a few hits of the marihuana help him hear the in between vibe, if you will, and make his mixes come out better. Not asking for me, For Schmozzie. Thank You, Ozzie.
I think the Les Paul tattoo is Eric's secret!
It’s an ESP guitar!
He’s a huge Metallica fan!
What is the consul in the background?
It's the amazing Audient ASP4816
@@Producelikeapro ,
I came of age in the 80s! I owned a fairly high end, recording studio in Midtown Manhattan, Chelsea to be exact. When we first opened, I did what most young adults would do, I went up to Mannys, which is a classic. New York, institution the best salesman and I am really sad that they no longer exist . Bought out by Sam’s.Ass!!🤣
Anyway, it was a soundcraft ghost . VCA automation, etc. but honestly the board sounded really great. classic British EQ ! At the time for the money, you couldn’t beat it . At least that’s my opinion .I started with the black face Adats, 3 of them linked with a BRZ, then eventually I upgraded to the M20’s 20 bit, you know what the hell I’m talking about. Had a brief stint with the DA-88. Some people say they sounded better. I know they were more popular on the West Coast obviously for film reasons. Then I moved rebuilt the real way, room inside of a room probably about 22 inches of proper soundproofing, and a air gap of another 5 inches
beams, floor ceiling, etc. were floated on neoprene pucks . There is a store on Canal Street in Chinatown Manhattan , called Mr. Plastic. I bought 35 , 4/8 sheets of neoprene at a inch and a half thick. I cut the shit with my bare hands, . Thank God halfway through I took my mothers consumer grade electric knives. My mother had one literally burnt it out at the last sheet that I cut, no bullshit !!!!!Then I upgraded to an, Amek TAC scorpion. I’ve heard you mention that you owned one yourself. Then rebuilt again in the mid/ late 90s! They gave me a 15 year lease. That never happens anywhere in New York City five boroughs for commercial and residential leases So I went balls deep on this build! Three control rooms,
For isolation rooms . One of them had my Yamaha G6 baby grand. oddly enough, my ear always told me that the piano is very bright!!
Which I know they’re known for. You can darken a piano with packing blankets. I’m sure you know what I’m speaking of, but it’s very hard to brighten up a dark piano/steinway, etc.
The main room had a Amek, Langley BIG desk. I went nuts with that thing!!! Put an Neve center section in with a step attenuator. This was around the time of the, 9098!
When, Rupert was building desks for Amek!! I know you remember those days! I actually met him at CES, and when I told him I put a 9098i in the Langley big. He thought I was crazy.!! he continued to talk to me about how it was possible to fit one of those cards in that desk. My whole bus system plus the first 8 channels, were 9098! Cards. The man had a Brilliant mind very humble and one of the most amazing people I ever had the privilege to met. He was talking shit that I didn’t even get at the time of my young life. But when he asked me how I made it fit., I looked at him and I said, Rupert you should know better than to ask me that question!!! 😜
I have beat teck in the city. and he’s a phenomenal fabricator as well. He laughed and said stupid comment kid, I don’t know what the hell I’m thinking. I quickly learned that a commercial studio unless you’re getting totally vintage, it’s best to lease a desk. If it breaks just send it back.
Now I’v been doing everything in the box. I ended up boxing Up 8 channels of the 98i before that was the norm. Because, like I mentioned, before my tech is a motherfucking monster. He actually made a Mackie meter bridge fit in the Langley big, when the lights started burning out! I know you’re familiar with that shit. Anyway, I wanna go back to my roots and get a desk as my front end. I’m not super familiar with, Audient desks. I am a UA, audio guy, forever!! a couple of 610s as well 1186’s. I had the old purple faced apogee converters. The big Ben is one of the best clocks I’ve ever worked with. I dare say that, black lion is a newer brand with similar characteristics. I was thinking of maybe a trident, but I need to have individual cards. There is no goddamn way I’m going to , pull the whole top of a desk off to replace a feeder, a capacitor, etc. !!!! I did it with my ghost , never again!!
I would get one of those small API’s , but I know myself and I’ll go down the 500 Siri’s rabbit hole of outdoor gear!! at that point I’m just an audio junkie!! that’s exactly why I chose not to fuck with it. So I really want to know your opinion, on a front end analog desk???
If I were buying used, the most I could come up with is maybe 26K. I am more likely going to lease.
my apologies for the long winded response. I really love your fucking channel and I’ve been in the game my entire life.
Duke Ellington is my godfather. My father had me when he was 62 years old with a 37-year-old mother. We were poor, but I always had instruments, those were my toys. We had a humongous Hammond organ in the living room of the apartment with my folks. Mind you, we lived in the projects.
Your side of the pond would refer to it as an estate. 🤣
He was on the road playing tennis sax at 15 with Count Basie then He went to Ellington. Also Went to Cab Calloway..
His name was Skip Williams, tennis sax!! They were drinkers they smoked reefer, and none of those swing cats fucked with powder!!! That came with bebop!!
So if you can ponder for me when you have the time of course, what you would do if you were in my situation. One more thing I failed to mention, I recently signed a deal with DFI ( LCD Soundsystem) James Murphy’s label . Fantastic cat /dude, we have the same first name ironically. I’m working out of my home, I don’t need more than 16 inputs. 24 at the most if acquired used.
I also don’t wanna deal with huge power supplies. you know that most cats leave their desk on. I am blessed to have clean electric.!!!!! thank goodness!!
Apologies for the long winded question.
We are from the same era and blessed to work in a creative professional situation, and loving every minute of it!! I’m actually going to be in LA during next pilot season, I do a little scoring for TV. Would love to come through the studio and get a chance to meet you, face-to-face.
Sorry for any typos, Blessings from
L.E.S / N.Y.C.
Any advice would be gratefully appreciated
Give thanks!!
JIM Williams.
PS. The studio was called Night Owl..
there still a bunch of stuff on the net about, the spot, an the artists we worked with 🤟🏼
Eric!!!❤🎉😂
Errrrrriiiiiicccck!
That hair has me thinking he's the Rock Miser. (Cousin to Heat Miser.) 🙂
Multiband on an instrument with uneven low end makes sense to me.
But what about a bass that is sampled? Isn't that already consistent enough?
It's true, recorded bass live has to have an expert bass player to have consistent low end, and the acoustics have to have no real peaks and valleys in the studio for non-DI bass. But this does not really apply to sampled bass, does it?
I do use a multiband on the full mix and I do EQ kick and bass to not interfere with each other, but would adding a multiband to a bass where the low end is already consistent be of any value?
Your hair! 🥲😍
Haha I preferred it when you said 'you're hair', before you edited it! I AM hair after all!
@@Producelikeapro 😂😂😂😂😂
What are the most famous\listened songs you have worked on as a producer?
I always set my cutoff @ 15-20 Hz, higher then that seems to suck out the life of the bass really quick.
In the last production I made, the bass sounded fine on basically all devices, including several cars.
But then in one car of a friend of mine, the bass guitar was suddenly WAAAAY louder than anything else. And it's just my production, other music sounds fine in that car.
Any idea what the cause for this might be?
His sound system could be built for more low end or his personal EQ on his radio was tuned weird.
People said not to hiigh-pass???? That's like the most important thing to do to cut mud out of a mix!
Haha I’ll have to find the videos! Quite comical now!
Audient mixing console?
Yes! It's the Audient ASP4816 Heritage Edition
I'm gunna send this to Gran Hechicer, love his music so much but needs more low end
Thanks ever so much for sharing!
A2 = 110Hz... 100Hz is our cutoff because of G2. But E0 is real Bass. C0 is the core. Middle C is for noobs.
1176
Is your hair getting more and more lairy? If so, why?
a 1 minute video would have been enough for the topic in the title
Multiple topics covered!
Another useless ‘secret’.