As a young producer straight out of high school, this stuff is something I would expect to pay too dollar to learn. Seriously this stuffs a gold mine for me I actually take notes on this stuff so I can improve my mixes on songs
It's only scratching the surface. I recommend every young aspiring producer be a runner (intern) at a recording studio for at least a year. Hearing about it is one thing, but seeing it happen in real life is a whole other... thing
like even if you do have this information as a beginning mixer or masterer its something to look out for but applying it and developing a solid understanding of it over the course of 2000 songs and twenty years is something young people think they get but won’t actualize until later definitely levels to this no pun intended
I remember having the same experience with vocal fx. A lot of what i thought were completely dry vocals werent, commonly they had some sort of slap delay tucked underneath, a lot of the times mono too so during playback it just becomes a shadow of the vocal which doesnt stand out. Its something that during playback you dont really hear it but if you mute it, you notice something has gone away and the vox loses something.
I've never had the ears or speakers to hear "colour" from different compressors. Not once the out signal is properly level matched to the input anyway. My technique has evolved into using an L3 - the low latency version (L3-LL) on the individual vocal tracks. I aim to make it so that every syllable hits the limiter. Then I use another L3-LL instance on the bus that the doubled vocal goes to. Then another on the main vocal bus I send all the vocals to. So that's 3 stages of limiting. It always amazed me how much compression a vocal enjoys. Bass too.
The compressors actually were invented because the signal degrade over distance in a radio communication so only the loudest part of a speech would have survived a long travel of the radio waves. If you have a consistent louder signal it can survive longer in radio communication, that's all. P. S. I forgot to mention that what i said it's true for AM radio, than with the advent of FM radio this problem was way less important
I knew about this since the early days, you could get a way with some reverb and delay while making it also sound dry in the mix but it would sit better then none at all.
Interesting comment about not wanting hear the tuning - I agree. The tuning on the Wicked movie soundtrack that Greg produced and was the band on, did my head in how extreme and obvious it was.
2:44 I always thought that limiters were introduced so that the signal output wouldn't spike suddenly and overload the transmitter. I guess this makes some sense too.
Great information. I basically compress to keep an instrument or a vocal staying at a position roughly. But I don't wanna here every instrument individually at a single, unique and separated position. Because some times their space blend together and gives a nice naturalism. Hearing natural sounds in nature helps it a lot. But even though I describe it like this, I mostly don't think about these things when I'm mixing. I just keep attention to one single thing. It is just the feeling. The feeling I hope to make for the song. I enjoy the mixing. But when I'm doing it, sometimes I look at my mixing in characteristics wise. Sometimes in free times, I think about my mixing in characteristics wise. Then I could find those characteristics. That's it. So, I would like to tell you, just enhance your feeling. Be honest with you. Then you don't have to believe me or anyone else. You will see when you mixing. OH.. I can see this in my feeling when I'm mixing. I try to do this and this and this. And some of those, you have heard before. Then you will feel like you are at the right position. This is my simple advice. Honesty is the key.
So funny about CLA and compression. I have seen CLA say so many times say that everyone thinks he compresses so much, and how he really doesn't. Then along comes Greg Wells talking about how CLA loves to compress, and adds a limiter and compresses after that, too. I love me some CLA, but... I think... I believe Greg. lol. Cheers.
How cool, I like using waves breuers motion on the vocals. I remember people didn’t understand why I did it because I had it cranked up to much 😂 but yeah I learned subtly is key
In my research, compressors were designed to help gain ride to score. The old way was to ride the potentiometer or fader volume to control singing amplitude in the lyrics they were singing. In other words bring up the quit and turn down the lows. Think about how much a compressor saves time, and to get professional you will pay professional. So try to pay once and get the machine you want. Yes it is easier said than done, but do the research first.Stay groovy.😎
In your research, you've likely come across information about the historical use of compressors for gain riding and controlling the dynamic range of audio signals. Compressors have indeed been used to even out the levels of vocals and other instruments during recording and mixing, allowing for more consistent and controlled sound. Riding faders or potentiometers manually to achieve the desired level changes can be time-consuming and may not provide the same level of precision as using a compressor. Compressors offer automation and precise control over the dynamic range, allowing engineers to shape the sound more efficiently. Moreover, professional-grade compressors often provide additional features and flexibility that allow for more nuanced control over the audio. This includes adjustable attack and release times, ratio settings, sidechain options, and various compression modes. These features make it easier to tailor the compression to specific audio sources and achieve the desired sound. When it comes to investing in professional audio equipment, it's true that paying once for a high-quality compressor can save time and yield better results. Researching different compressor models, their features, and the reputation of the manufacturer can help you make an informed decision and choose the right tool for your needs. Remember, while compressors can be powerful tools, it's essential to use them judiciously and understand their impact on the sound. Each audio source may require different settings and considerations, so experimentation, experience, and attentive listening play vital roles in achieving professional results.
He explains afterwards the signal processing he uses for his reverb and delay sends to shape the vocal. For example, he says he doesn’t like the sound of top end on reverb, which means he’s filtering out the top end of the reverb and using the reverb more so for body in the vocal as opposed to an audible effect.
Controlling dynamics is actually the worst use for compression, in my opinion. If I want to control dynamics, I'd rather just use a limiter or gain automation. Both are more transparent than compression, and both do a better job of controlling levels. A compressor can change the entire feel of an instrument. It can emphasize or de-emphasize attack. It can increase sustain. It can even change the EQ curve of an instrument by clamping down harder on certain frequencies than others. Too many people just slap compression on everything without knowing why they're doing it.
Your opinion on the use of compression in controlling dynamics is subjective, and different audio engineers and producers may have varying perspectives on this matter. However, I can provide some insights and considerations to broaden the discussion. While it's true that a limiter or gain automation can be effective tools for controlling levels and dynamics, compression offers a unique set of capabilities that can be valuable in certain contexts. Here are a few points to consider: 1. Transparency vs. Character: Compressors can introduce a particular character or coloration to the sound, which can be desirable in some cases. The analog warmth and saturation generated by certain compressors can enhance the overall texture and vibe of an instrument or a mix. This can contribute to a more cohesive and polished sound, especially in genres like rock, pop, or hip-hop. 2. Shaping Attack and Sustain: Compressors allow for precise control over the attack and sustain characteristics of an instrument. By adjusting the attack time, you can emphasize or de-emphasize the initial transient of a sound, affecting its perceived impact. The release time can shape the sustain, creating a more even or controlled decay. These capabilities can help in achieving a desired tonal balance and shaping the musicality of the instrument. 3. Frequency Emphasis: Some compressors, particularly those with sidechain or multiband functionality, can selectively apply compression to specific frequency ranges. This enables you to address frequency imbalances or unevenness in the mix, effectively altering the EQ curve of an instrument by controlling different frequency bands independently. It can be useful in taming harshness, managing resonant frequencies, or addressing tonal imbalances. 4. Dynamic Control Beyond Volume: Compression can also be used creatively to manipulate the dynamics of a sound beyond just volume control. Techniques like parallel compression, New York compression, or "pumping" effects can add excitement, energy, or a unique character to a mix. These approaches are often employed in genres like EDM, electronic music, or certain styles of rock. Ultimately, the key is to use compression intentionally and with a clear understanding of its impact on the sound. It's important to consider the context, artistic intent, and the desired sonic outcome when deciding whether and how to apply compression. A thoughtful and purposeful approach can help avoid the misuse or overuse of compression that you rightly mentioned.
I don’t think anyone could have said this better. I like a lot coming at me too musically and the vocal needs to stay natural sounding. These days vocals are typically buried in reverb.
Avoiding reverb on low-frequency sustained instruments can prevent muddiness in the mix. High-pass filtering can be used to tailor the reverb effect on such instruments. The decay time of the reverb can be related to the tempo of the piece, but there are no strict rules. Faster tempos often call for shorter reverb decays to maintain clarity and prevent muddiness. Predelay can help add depth and definition to an instrument by simulating the perception of space and distance. Adjusting predelay based on desired spatial effects is a useful technique. Concert halls are often characterized by a softer, rolled-off reverb, so EQing the digital reverb to be a little softer can enhance the naturalness of the effect. In dense mixes, shorter reverb times can contribute to clarity and dimension, particularly with percussive instruments. Historical recording practices and the characteristics of different eras can be considered when selecting reverb types. Each era had its own distinctive reverb characteristics. Combining delay with reverb, particularly by adding the delay effect to the reverb rather than the source itself, can create atmospheric and immersive effects, especially on vocals and guitars. Using different reverb lengths, including a quick reverb for room tone and a longer reverb for effect, can help simulate different spatial environments. It's important to approach reverb application with a clear understanding of the desired artistic intent and the sonic atmosphere you want to create.
I thought compressors were invented to prevent the signals from overloading the systems in radio stations and frying their equipment… maybe the compressor just appeared one day and no one actually knows how it got here.
I like Greg's mixes a lot, in general, but the mixing on The Greatest Showman is questionable at best, particularly with the opening song. It sounded fine in the theatre screening but on TV/laptop/phone it ain't so good.
I’ve always hated how low the vocal on the greatest show comes in after the big huge BAAA BAAA BABA BAAAAAA! (Tiny) ladies and gents this is the moment you waited for
Funny how he’s talking so much about compression, and the audio in this interview might be the most compressed interview audio I’ve ever heard. Lol listen when he scratches his face… or the air in the room… STRONG compression haha
@@kensmechanicalaffair I would honestly say, yes it is… as it takes away from it sounding natural. Essentially pushing his vocal fry and swallowing sounds to the forefront where it ends up competing with the amazing content he is providing.
This is all a matter of taste and depends on the type of song and genre. Not everyone is looking for everything to be so clean. I dont like when things are drowning in effects or have too many artifacts but as a producer and musician, vocal effects are like an instrument. Its sometimes like a wawa peddle on a guitar, or distortion on a guitar. Delay and reverb when used right can compliment the sounds in the music. At least in my style, and a little artifacts in the tuning I like too, not on every song but if the song is kind of trippy or futuristic sounding then it fits.
I like to put a reverse delay on my vocals and the snare. It has a weird suction effect that almost feels like yo-yo. It sounds like shit and I don't recommend it, but I like it lol
This subject is genre dependent. With fast Punk and Rock stuff the minutiae of reverb and delay isn’t as important. Compression is more important in fast, aggressive music, I personally use Capitol Chambers sparingly reverb on fast songs as the rooms can be set to be short and hard.
The breath gives away the auto tuning Everytime. I've never produced with autotune but I image you would have to increase your focus on every other part of the voice. There are lots of garbled and unnatural robotic glitch sounds coming with bad autotune production.
That usually is the case if the singer is really really bad. Personally if the singer for me is almost a half step out of the note, might as well to a better take. I think pitch correcting should only be minor and just a way to give it a little bit more blend with the rest of the instruments
Not crazy about the delay on it . Wish you could change the time on it . That one dosen't seem to work on a lot of tunes. Like he says something sort of dreamy which I like the thought of that but the delay on his plug in dosen't strike me as dreamy. I've only had it maybe a month but haven't been able to use it on anything yet.
Over-tuned vocals are awful. I know all music is auto-tuned now, but I don't waqnt to hear it unless it's used as an effect. It totally tears me out of the human moment.
Not all music is nowadays... Thousands of musicians all over the world would rather track live/with beautiful gear and as little getting in the way of the performance as possible... Autotune/Melodyne is by no means on everything.
Then technically drawing midi on computer instead of playing yourself would be the same thing as autotune.man just enjoy the music,at the end, what matters is the song that you can enjoy,not the process
Full video available exclusively on mwtm.org/gw-vocal
This took me years to figure out on my own. The younger generation has no idea how fortunate they are to have this information in their hands
We have a good idea
@@duragkev yep
When you make this discovery for yourself, it is awesome.
When you discovered to use fx? Mind-blowing
Ok.
As a young producer straight out of high school, this stuff is something I would expect to pay too dollar to learn. Seriously this stuffs a gold mine for me I actually take notes on this stuff so I can improve my mixes on songs
It's only scratching the surface. I recommend every young aspiring producer be a runner (intern) at a recording studio for at least a year. Hearing about it is one thing, but seeing it happen in real life is a whole other... thing
I found myself moving my head up and down while watching this video.
This guy is amazing, I love his approach to sound work and his philosophy, I think he's my favorite !
Any Greg Wells series on MWTM or other platforms are all fantastic. Highly recommend.
I will always be a student, learning from the greats!!!!
The way Greg articulates his thoughts is always inspiring
buddy needs a vocal fry plugin for himself
He needs that soothe plug-in lol
🤣🤣🤣 I’m weak asf
@@autofocus4556 🤣
😂
I’d like to hear you to do this session with live examples along the way.
Everything he’s saying is something that takes years to land on
Not years.
@@kensmechanicalaffair increments of 12 months
@@CarsonHoy 🙌
Wow listening to this and learning at 11 at night before I am about to go to sleep is priceless
@@kensmechanicalaffair Wrong... 🙄
like even if you do have this information as a beginning mixer or masterer its something to look out for but applying it and developing a solid understanding of it over the course of 2000 songs and twenty years is something young people think they get but won’t actualize until later definitely levels to this no pun intended
Rolling in the deep….darkest mix you ever heard…so good and works so well. Mind blowing
Tom Elmhirst mixed that record.
@@Incusaudio really? Oh I guess wells just produced it then? I was under the impression he mixed it as well.
🤔 got to look up more Tom Elmhirst
Thanks
@@Limit5482 Paul epworth produced it.
Compressors are also eqs and saturation. As well as levellers.
Exactly u jus gotta know how to use it but every compressor sounds different
I love GW's dulcet tones
One day I look forward to working with this legend, im looking into getting his vocal VST, he did an amazing job on vessel by twenty one pilots.
He worked on vessel?????
@@theonygard5694 yep!
I LOVE YOU GREG WELLS
I remember having the same experience with vocal fx. A lot of what i thought were completely dry vocals werent, commonly they had some sort of slap delay tucked underneath, a lot of the times mono too so during playback it just becomes a shadow of the vocal which doesnt stand out. Its something that during playback you dont really hear it but if you mute it, you notice something has gone away and the vox loses something.
I've never had the ears or speakers to hear "colour" from different compressors. Not once the out signal is properly level matched to the input anyway. My technique has evolved into using an L3 - the low latency version (L3-LL) on the individual vocal tracks. I aim to make it so that every syllable hits the limiter. Then I use another L3-LL instance on the bus that the doubled vocal goes to. Then another on the main vocal bus I send all the vocals to. So that's 3 stages of limiting. It always amazed me how much compression a vocal enjoys. Bass too.
The compressors actually were invented because the signal degrade over distance in a radio communication so only the loudest part of a speech would have survived a long travel of the radio waves. If you have a consistent louder signal it can survive longer in radio communication, that's all.
P. S. I forgot to mention that what i said it's true for AM radio, than with the advent of FM radio this problem was way less important
Huh, interesting. Good info!
Ha! That’s super cool to know. Makes sense. Thanks for that!
I like this guy.
What a legend, thanks a lot for the video!
Greg Wells is the love child of Tom Hanks and Bill Murray.
He is really Pauly Shore incognito .....
😄
Oh god, you nailed it.
This is the guy I’ve been looking for. His engineering taste is similar to mine but I didn’t know how to attain it.
I knew about this since the early days, you could get a way with some reverb and delay while making it also sound dry in the mix but it would sit better then none at all.
Wow. Excellent information. Thank you for sharing your years of experience, Greg :)
Interesting comment about not wanting hear the tuning - I agree. The tuning on the Wicked movie soundtrack that Greg produced and was the band on, did my head in how extreme and obvious it was.
The level of the noise floor on this clip is insane.
Exactly. Soooo well said
Doubling the vocals is essential for me, sometimes even triple with an affect on one
Drums and bass is the only think I won't double . Vocals and guitar definitely need double
2:44 I always thought that limiters were introduced so that the signal output wouldn't spike suddenly and overload the transmitter. I guess this makes some sense too.
stop listening to live sound engineers
Dropping gems my friend 🙏🏽
Great information. I basically compress to keep an instrument or a vocal staying at a position roughly. But I don't wanna here every instrument individually at a single, unique and separated position. Because some times their space blend together and gives a nice naturalism. Hearing natural sounds in nature helps it a lot. But even though I describe it like this, I mostly don't think about these things when I'm mixing. I just keep attention to one single thing. It is just the feeling. The feeling I hope to make for the song. I enjoy the mixing. But when I'm doing it, sometimes I look at my mixing in characteristics wise. Sometimes in free times, I think about my mixing in characteristics wise. Then I could find those characteristics. That's it. So, I would like to tell you, just enhance your feeling. Be honest with you. Then you don't have to believe me or anyone else. You will see when you mixing. OH.. I can see this in my feeling when I'm mixing. I try to do this and this and this. And some of those, you have heard before. Then you will feel like you are at the right position. This is my simple advice. Honesty is the key.
Real gems 💎💎💎💎
The way he presents his knowledge kinda reminds me of Finneas. Awesome video, very inspiring engineer
This is great info! Thanks!
So funny about CLA and compression. I have seen CLA say so many times say that everyone thinks he compresses so much, and how he really doesn't. Then along comes Greg Wells talking about how CLA loves to compress, and adds a limiter and compresses after that, too. I love me some CLA, but... I think... I believe Greg. lol. Cheers.
CLA is all over the place with his answers because he purposely doesn’t want to give away his secrets.
Guy’s a name dropper, he is
Since this is a Mix With The Masters video… what is that massive disturbing background noise ?
Probably they've been using tape emulation plugin on his mic :-)
It’s not engineered with the masters
Just mixed
All studios with that much gear in it have background noise like that. Coupled with the gear itself, the cooling needed for all of that is audible.
The person doing the interview is not an engineer, go easy man
@@traditional85 Ok, but then there are tons of videos out there with people talking in massive control room setups and it is dead quiet.
He would like my tracks. I mix in a similar mindset. Great tips and advice.
Awesome information ⭐️⭐️⭐️⭐️⭐️
How cool, I like using waves breuers motion on the vocals. I remember people didn’t understand why I did it because I had it cranked up to much 😂 but yeah I learned subtly is key
Bro is it weird how I kinda hate very stero vocals. To me I prefer a mono nicely compress vocal but just having little subtle stero from plate verbs
@@shabanshabani7721 oooo nice I’d like to try that with some breurers motion
@@froebelpacheco5701 yess sir I use that pluggin on melodies and sometimes hihats
His voice is so low that the compressor brought up all the static in the room
"I never want to notice the FX on the lead vocal"
2:19 What was that high pitch squealing coming from?
I just found this channel. What have I been doing w/ my life!?
Actually his signature vocal processor from Waves is right on the money in terms of offering more than a taste of what he's talking about here.
In my research, compressors were designed to help gain ride to score. The old way was to ride the potentiometer or fader volume to control singing amplitude in the lyrics they were singing. In other words bring up the quit and turn down the lows. Think about how much a compressor saves time, and to get professional you will pay professional. So try to pay once and get the machine you want. Yes it is easier said than done, but do the research first.Stay groovy.😎
In your research, you've likely come across information about the historical use of compressors for gain riding and controlling the dynamic range of audio signals. Compressors have indeed been used to even out the levels of vocals and other instruments during recording and mixing, allowing for more consistent and controlled sound.
Riding faders or potentiometers manually to achieve the desired level changes can be time-consuming and may not provide the same level of precision as using a compressor. Compressors offer automation and precise control over the dynamic range, allowing engineers to shape the sound more efficiently.
Moreover, professional-grade compressors often provide additional features and flexibility that allow for more nuanced control over the audio. This includes adjustable attack and release times, ratio settings, sidechain options, and various compression modes. These features make it easier to tailor the compression to specific audio sources and achieve the desired sound.
When it comes to investing in professional audio equipment, it's true that paying once for a high-quality compressor can save time and yield better results. Researching different compressor models, their features, and the reputation of the manufacturer can help you make an informed decision and choose the right tool for your needs.
Remember, while compressors can be powerful tools, it's essential to use them judiciously and understand their impact on the sound. Each audio source may require different settings and considerations, so experimentation, experience, and attentive listening play vital roles in achieving professional results.
“CLA is quite a big fan of using gain reduction” 😂😂😂😂😂
His favorite reverb is the Capital chambers?? Where can I download that?
I think he means literally the basement of capitol records
UAD Platform.
My favorite reverb is re-amping in the Grand Canyon
0:50 I was kinda let down because I thought he was gonna spill info on how to get that effect.
He explains afterwards the signal processing he uses for his reverb and delay sends to shape the vocal. For example, he says he doesn’t like the sound of top end on reverb, which means he’s filtering out the top end of the reverb and using the reverb more so for body in the vocal as opposed to an audible effect.
This guys looks like a mix between Mathew Perry and Mathew Mcconaughey
holy shit
I was like: pauly shore is doing music now?
🔥🔥
Am I listening to Robert California?
Controlling dynamics is actually the worst use for compression, in my opinion. If I want to control dynamics, I'd rather just use a limiter or gain automation. Both are more transparent than compression, and both do a better job of controlling levels.
A compressor can change the entire feel of an instrument. It can emphasize or de-emphasize attack. It can increase sustain. It can even change the EQ curve of an instrument by clamping down harder on certain frequencies than others.
Too many people just slap compression on everything without knowing why they're doing it.
Your opinion on the use of compression in controlling dynamics is subjective, and different audio engineers and producers may have varying perspectives on this matter. However, I can provide some insights and considerations to broaden the discussion.
While it's true that a limiter or gain automation can be effective tools for controlling levels and dynamics, compression offers a unique set of capabilities that can be valuable in certain contexts. Here are a few points to consider:
1. Transparency vs. Character: Compressors can introduce a particular character or coloration to the sound, which can be desirable in some cases. The analog warmth and saturation generated by certain compressors can enhance the overall texture and vibe of an instrument or a mix. This can contribute to a more cohesive and polished sound, especially in genres like rock, pop, or hip-hop.
2. Shaping Attack and Sustain: Compressors allow for precise control over the attack and sustain characteristics of an instrument. By adjusting the attack time, you can emphasize or de-emphasize the initial transient of a sound, affecting its perceived impact. The release time can shape the sustain, creating a more even or controlled decay. These capabilities can help in achieving a desired tonal balance and shaping the musicality of the instrument.
3. Frequency Emphasis: Some compressors, particularly those with sidechain or multiband functionality, can selectively apply compression to specific frequency ranges. This enables you to address frequency imbalances or unevenness in the mix, effectively altering the EQ curve of an instrument by controlling different frequency bands independently. It can be useful in taming harshness, managing resonant frequencies, or addressing tonal imbalances.
4. Dynamic Control Beyond Volume: Compression can also be used creatively to manipulate the dynamics of a sound beyond just volume control. Techniques like parallel compression, New York compression, or "pumping" effects can add excitement, energy, or a unique character to a mix. These approaches are often employed in genres like EDM, electronic music, or certain styles of rock.
Ultimately, the key is to use compression intentionally and with a clear understanding of its impact on the sound. It's important to consider the context, artistic intent, and the desired sonic outcome when deciding whether and how to apply compression. A thoughtful and purposeful approach can help avoid the misuse or overuse of compression that you rightly mentioned.
Knowledge.
I never noticed that CLA was a fan of gain reduction... all his records sound so natural... 🤥
He compresses the shit out of sound but with a low ratio. 2:1 he uses a lot.
Man this guy's voice is MELLOW I want what he's smoking
(Hits blunt)
I don’t think anyone could have said this better. I like a lot coming at me too musically and the vocal needs to stay natural sounding. These days vocals are typically buried in reverb.
Avoiding reverb on low-frequency sustained instruments can prevent muddiness in the mix. High-pass filtering can be used to tailor the reverb effect on such instruments.
The decay time of the reverb can be related to the tempo of the piece, but there are no strict rules. Faster tempos often call for shorter reverb decays to maintain clarity and prevent muddiness.
Predelay can help add depth and definition to an instrument by simulating the perception of space and distance. Adjusting predelay based on desired spatial effects is a useful technique.
Concert halls are often characterized by a softer, rolled-off reverb, so EQing the digital reverb to be a little softer can enhance the naturalness of the effect.
In dense mixes, shorter reverb times can contribute to clarity and dimension, particularly with percussive instruments.
Historical recording practices and the characteristics of different eras can be considered when selecting reverb types. Each era had its own distinctive reverb characteristics.
Combining delay with reverb, particularly by adding the delay effect to the reverb rather than the source itself, can create atmospheric and immersive effects, especially on vocals and guitars.
Using different reverb lengths, including a quick reverb for room tone and a longer reverb for effect, can help simulate different spatial environments.
It's important to approach reverb application with a clear understanding of the desired artistic intent and the sonic atmosphere you want to create.
Being stoned will compress your voice like his.
Vocal compression came form the Military... holy fuck
I thought compressors were invented to prevent the signals from overloading the systems in radio stations and frying their equipment… maybe the compressor just appeared one day and no one actually knows how it got here.
Do you think Adele would be interested in my song Angel in the Night?
Wow, this dude thinks like me. Or, vice verse perhaps. I gotta start taking notes!
He reminds me of Tom Hanks a little
I like Greg's mixes a lot, in general, but the mixing on The Greatest Showman is questionable at best, particularly with the opening song. It sounded fine in the theatre screening but on TV/laptop/phone it ain't so good.
Yeah they compressed and autotuned the heck out of the vocals. Sounded really bad and my family kept trying to debate me hahaha
@@mrblobifier Exactly! Such a shame because Hugh Jackman has such great range and it all felt a little squashed.
I’ve always hated how low the vocal on the greatest show comes in after the big huge BAAA BAAA BABA BAAAAAA! (Tiny) ladies and gents this is the moment you waited for
Funny how he’s talking so much about compression, and the audio in this interview might be the most compressed interview audio I’ve ever heard. Lol listen when he scratches his face… or the air in the room… STRONG compression haha
A tape emulation might be on the mic too
But is it terrible?
@@kensmechanicalaffair I would honestly say, yes it is… as it takes away from it sounding natural. Essentially pushing his vocal fry and swallowing sounds to the forefront where it ends up competing with the amazing content he is providing.
This is all a matter of taste and depends on the type of song and genre. Not everyone is looking for everything to be so clean. I dont like when things are drowning in effects or have too many artifacts but as a producer and musician, vocal effects are like an instrument. Its sometimes like a wawa peddle on a guitar, or distortion on a guitar. Delay and reverb when used right can compliment the sounds in the music. At least in my style, and a little artifacts in the tuning I like too, not on every song but if the song is kind of trippy or futuristic sounding then it fits.
I like to put a reverse delay on my vocals and the snare. It has a weird suction effect that almost feels like yo-yo.
It sounds like shit and I don't recommend it, but I like it lol
👍🏻
hayden if u see this ily
This subject is genre dependent. With fast Punk and Rock stuff the minutiae of reverb and delay isn’t as important. Compression is more important in fast, aggressive music, I personally use Capitol Chambers sparingly reverb on fast songs as the rooms can be set to be short and hard.
The breath gives away the auto tuning Everytime. I've never produced with autotune but I image you would have to increase your focus on every other part of the voice. There are lots of garbled and unnatural robotic glitch sounds coming with bad autotune production.
That usually is the case if the singer is really really bad. Personally if the singer for me is almost a half step out of the note, might as well to a better take. I think pitch correcting should only be minor and just a way to give it a little bit more blend with the rest of the instruments
@@pedrosilvaproductions well said. Half step off is a new take. That is certainly a good rule.
💖🌟🎶🎶🎶🙌💯✨🙏
really talkes bout his delays like he used to have an addiction of some sort. Find someone who loves you like Greg loves his reverbs..
Yada yada. No examples. His Egocentric plugin is dope tho
Lol, most videos.
Not crazy about the delay on it . Wish you could change the time on it . That one dosen't seem to work on a lot of tunes. Like he says something sort of dreamy which I like the thought of that but the delay on his plug in dosen't strike me as dreamy. I've only had it maybe a month but haven't been able to use it on anything yet.
Over-tuned vocals are awful. I know all music is auto-tuned now, but I don't waqnt to hear it unless it's used as an effect. It totally tears me out of the human moment.
Not all music is nowadays... Thousands of musicians all over the world would rather track live/with beautiful gear and as little getting in the way of the performance as possible... Autotune/Melodyne is by no means on everything.
Then technically drawing midi on computer instead of playing yourself would be the same thing as autotune.man just enjoy the music,at the end, what matters is the song that you can enjoy,not the process
Why do I always think this guy is paully shore ? 😂
This guy smokes a lot of weed
Needs to work on his own vocal. That vocal fry affectation is like sandpaper to me. 😒
Did this man like and then not like what he liked only to like it after? This man’s a military compressor himself nevermind lmao
I wonder what he was trying to swallow the whole time of this video
...OH !!...you mwan like what they did with David Bowie's. " China Girl "...??!! my God. !!....a taD OVERDONE ARE WE.......
Good points but he is such an actor :P
Rather ironic that his own vocal fry is irritating af.
How is that ironic lol get lost
They pulled the recording thru tape, cranked it for the hiss too. Good stuff
He got something stuck in his throat or what?
Pitch correction should be a last resort thing and not part of a regular mixing workflow.
Why does this guy keep swallowing
Insta click-
But if your song is shit, or mediocre, and most are, none of this matters.
Talk a bit slower please
pretentious glasses
This guy has the worst vocal fry in his voice - and it sounds deliberate!
So... Use fx. Lol. Great tips there genius
this guy has done way too many drugs to be useful...he says one thing and then immediately follows it with the exact opposite...useless
ARSI REY
"El Tigre De La Bachata"
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