How Much Should You Charge To Mix A Song? | FAQ Friday - Warren Huart: Produce Like A Pro
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- Опубликовано: 30 июл 2024
- 📚📚How Much Should You Charge To Mix A Song? : bit.ly/2Vsfa5R
💬💬We cover the following questions during this episode of FAQ Friday!
• You suggest getting 50% upfront before mixing, how have you determined the final price? Is it a quote on an estimate of the amount of time you think it might take to complete?(0:40)
• When you’re charging by the hour for a mixing project, how can you prove that you’ve worked “X” Amount of hours so you can get paid properly? (6:12)
• If a client only has enough funds to have you mix one track but is unsure of which track should actually get mixed. Can they send multiple tracks and then you pick on of those to mix or is this unrealistic based on your time commitments? (10:38)
• Do you ever record with a click track on flashing light in the studio? (14:48)
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Hi Friends, today we are talking about how to charge for your services! These days everyone, even the 'A Listers' has a sliding scale! A 'book price' that they quote and then of course a minimum price they are willing to work for. So how do you set these prices? For me my 'minimum price' would always be based on how long is this project going to take? Find a rate you're comfortable with based on how much work you anticipate it will be and then don't go below this price! Value yourself, your time and your talent!
Hey Warren I think you could have stressed more the impact of the market. When you have an idea of pricing, quality, special services, reputation... of other studios in -say 100 km radius, you'd have a good idea what you can charge right? Every new business should very well know the market. Even if it's solely internet-based.
Other than that point, great insights as always.
Cheers from Germany
I charge about Three fity, thx for the video :)
I'm really glad you mentioned that everybody needs to get paid. Often people not in music, or people just getting into music don't understand that _everybody_ needs to get paid. People who say that music should be free or cheaper don't understand that even the cleaning lady needs to get paid. She actually has the most important job when you think about it. :-)=
Hi Lasse, yes, agreed! Marvellous comment!
I am really having fun learning by watching your videos. Thank for changing things up and keeping it exciting. You are a gifted teacher. Blessings to you and your staff and family.
michael tablet that is very kind of you my friend!
The blinking light is a great idea. I never thought of that. I recently worked with an artist who really struggled with tracking her piano part with a click track. Alternatively, I gave her a very natural sounding drum loop and she was locked on and had no problem with finishing the session. She couldn't believe what a difference that made but this is something I have done for a long time because I hate the click track and I suck at playing to one as well.
Corby Vinson yep, I can't play to one. They are just sooo cold! Put in a simple drum loop and away I go :)
really great topics Warren. Your attitude towards treating ALL clients the same (with respect and professionalism) has been my motto throughout my career as well, and I can say it has resulted in me being happier, my clients being nicer, and much more money coming in from repeat business. Im a geezer now, but my advice to younger people starting a career that requires them to create their own success, being humble, truthful and fair will go a long way. A really long way. Great Video Warren :-)
This is honestly the best FAQ Friday I've seen. The music business questions are honestly such a big help! It's great that you went into a lot of detail with each question, too. Thanks, Warren!
Hi Martin thanks ever so much my friend! That’s very kind of you!
Very insightfull video as always Warren. Always look forward to FAQ Friday...
Chuck Green Thanks ever so much my friend!
'Aerojones'... finally found a name for my band, thanx ;-)
Steve Power haha yes, indeed!
Keep track of the hours you put in. First plugin I load on every mix I do is HOFA's Project Time. Did I mention it is free...
Oh, so simple yet so practical, thanks for mentioning it
Very interesting! It would be a good exercise to see how long you work on something and then how much you've actually charged. What is it measuring? How long the DAW audio? How long the cursor is moving along with editing etc? Or how long it's open? Obviously they would be very different results. Very intriguing!
@@Producelikeapro It isn't too complicated Warren, it simply measures and shows the time the ProTools session (project) is open. You can pause the clock when you want to take tea break. ;-)
I usually instantiate the plugin on an unused aux. Park the plugin window somewhere (2nd screen) and hide the aux. You can enter the project/session title and if needed, enter an offset. (For when you like, already worked on the thing for an hour and forgot...) It also keeps a log but I do not find that particular function very useful. Great stuff from HOFA though.
@@Producelikeapro I lead a musictech startup for a day job and use a tool that analyses my workday by open windows and mouse interaction. It's very effective to know you've spent 10% of your time to research the background on a funny meme for example when you could get something more important done :)
Great questions and answers Warren. Have a wonderful weekend!
trollstjerne thanks ever so much my friend!
I started to charge for mixing and mastering and you are totally correct. The most important factor is communication and to be understanding. The client must be happy
Thanks for keeping it real and on point...great video!
Thanks ever so much my friend!!
Good advices, great video, as usual! Thanks again Warren! Have a super marvelous day :-D
Hi Claudius thanks ever so much my friend!
Awesome advice as always Warren!!! Thank you!
Thanks ever so much my friend!!
Thank you Warren for the great videos that you post here. I find them very helpful. You mention some things that go into pre-production (3:30 to 3:45). Could you please talk about your view on how various elements in pre-production can be done well, so that songs are ready for recording? Thanks.
We're having it way to easy these days. Imagine not being able to learn so much and so often. All this from comfort of your own home. Thank you for yet another portion of wisdom!
Thank you Warren! Seriously helpful information!
Audrey Sims you’re very welcome my friend!
A truly very nice useful channel you have, second to none. keep up the great work !!! Lovin It
I've never heard of the flashing light as a metronome! That was an awesome idea
JBarber3d yes, a very simple easy idea indeed!
Dave Grohl on Nevermind!!
Such great advice. Thanks Warren.
Hi John Core thans ever so much my friend!
Great advice! Always be prepared & early. Be as rehearsed as musically possible without killing the soul of the song. Everybody know your stations. Never forget it's a group effort, and above all: ARCHIVE your session files!
Wonderful advice my friend!!
Hello Warren,
Love the fact that you make us aware that producing/engineering is not only about technique, but also that a great deal of 'attitude' is involved.
You may already have answered this question elsewhere, but here goes:
I’m a metalhead. In order to achieve massive guitar sound, how much distortion in too much distortion ? There seems to be contradictory opinions on that subject: 'the less is more' vs 'the more-is-more' approach.
Keep on the great work.
Phenomenal Qs and great As! Very insightful episode, thank you Warren.
D,
LToC
Lost Tribes of Cheekowara thanks ever so much my friend!
Hello Warren great video,
Love this song
Thanks for all the hard work on your videos and knowledge you share with the community.
I watch mostly on my PS4 so I don’t get to comment very often.
Tks Warren! Good tips.
Helder Coelho you’re very welcome!
Great, practical, experienced advice. Thank you Warren 👌
Wow! Thanks ever so much
Man those were great answers Warren. You said it exactly as it is. It's good confirmation coming from you as well.
Watching this during my holiday in Spain, gotta love today’s tech! Thanks again! Great questions and answers!
Thanks ever so much Martin!
Have fun on Holiday in Spain!
Produce Like A Pro i will! Thanks!!!
Wish I could hit the like button twice 👍🏽👍🏽. I appreciate you Sir!
Hi Spirit Soundz Lab wow!! Thank you ever so much my friend!
Beautiful info man
Thank you for all the wisdom :)
Thanks ever so much my friend!!
Great video! Cheers👍🏼
David Uzcategui tanks ever so much my friend!
Like you´re able to read one's mind... Thank you so much for this great tutorial! Lesson learned
Thanks ever so much my friend!! Glad to be able to help!
This is good advice, even outside of music!
Thanks ever so much!!
Love the ice pick analogy. Spot on!
Haha yes, indeed Aaron!
Verrry good. Ty Warren.
Thanks ever so much Chris!
Marvelously interesting and informative. :-)
Again GREAT Tutorial. Like Aretha said R.E.S.P.E.C.T. .... Respect yourself, your clients, there music and taste and like Patrick said Be nice always be nice until it`s time to not be nice but that`s another story .
Michel Doucet absolutely my friend! Wonderfully solid advice my friend!
All Great points. Love you said electricity within your rates. I've done it. Cheers.
Simone white that’s great to hear!!
Every single point is right on the money! (no pun intended))). Hoping to run into you again one of these days at United, or Sunset. Thank you for your honest work, and sharing it with people!
Hi Oleg Schramm Thanks ever so much!!
I would also recommend the HOFA project time plugin. It’s been really useful for me to estimate how long certain jobs are going to take so you can make more informed decisions on costs.
Looking and sounding super crispy on the new camera Mr Warren
Hi JoeyOfBananas haha thanks ever so much my friend!
Aerosmith or Aerojones ... ha! I laughed out loud on the bus :-) Great video with some wonderful tips on how to get projects off on the right foot. Thanks
Haha thanks Terry!! I hope you're well!
In reference to the click track & having parts that are programmed to a grid, it reminded me of the Terry Date Tape Op interview where he talks about White Zombie & Charlie Clouser (I think) would edit the live drums to fit the loops & Terry Date told him to cut the loops to match the live drums. Do you / would you consider cutting programmed parts to match what a human is playing & bring a little more human element into those programmed parts?
Dylan Fischer Wow interesting idea I'm thinking of ways to use that.
Re: the click track question, I would add that this is also something to discuss with the artist. Not everybody is used to working with a click track, and may even be uncomfortable with it. Also the nature of their music may allow for, or even demand, more of a fluid approach. The obvious benefits of tracking to a click track are ease of editing between takes, guiding the tempo during pauses in the percussion and/or drum tracks, and providing a common guide for overdubs. The obvious benefits of tracking without a click track are highlighted when a tight, well-rehearsed band records their performance with fluctuating tempos based on the arrangement. An organic recording of this nature can make the mix a lot easier, because it's already implied in the performance.
I sometimes find that if it's a song or an artist I really dig and enjoy dealing with, it no longer becomes work and will do lots of stuff off the clock. Little professional courtesies like that can go a long way when building your reputation up. That said, you never know what you're dealing with until you hear the actual tracks themselves. If you weren't involved in the recording, they can be pretty terrible sounding and you'll have your tasks cut out for you. I once had some Reggae sessions where the Kick Drum was accidentally printed on the Lead Vocal and Keyboard tracks and the Kick Drum track had Hi Hat printed on it. I had to re-record the Kick Drum track together with out-of-phase Hi Hat to make a new Kick track that was clean. Then I had to use that track out-of-phase to re-record new clean Vocal and Keyboard tracks. It worked like a charm but was quite a job getting it to that point where you could actually mix it!
Thanks for all the info you are passing.
I was asked to do a theme for a website. One client wanted me to do everything from start to finish (composing, recording, mixing, mastering) for 50€, believe it or not. My first reaction was to laugh because it was so ridiculous offer. Client argued that it can't be so difficult "...you just click little bit here and there with a mouse". I obviously declined to do anything.
Also about the long hours... When recording your time filled 100% with analytical thinking and it can be draining sometimes. I just came back from a recording trip today. I took all my analog gear to a cabin on the coast of Finland. Friday we put everything up and ready. We did a 6 song live session with 2 camera units. Yesterday I had just one break during 12h session because we had to re-do some keybs & vocals, I edited takes in between songs and was the go-to man for all audio. You just hang in there and want to make everything possible and be prepared for anything. It would be way harder to do something post. This is all possible only with good communication and respect.
Cool Q/A, about the click/flashing light, what they are using? some mobile app or something connected to computer?
I use BPM Tap app, which is cool on it's own and close to described method, but has more fluid feedback not on/off which would be cool..
Thank you Warren for those pearls of wisdom on pricing. I am struggling with this at the moment because, as I am finding out, everyone in my country expects you to work practically for free. Oh well, its a tough business to start with. Thank you very much for the insightful videos and advice. Cheers!
You're ever so welcome Luke!!
Hi Warren I have a product recommendation that I think you should try to get a demo of on your channel. I use this myself in my home studio and it's just amazing for recording full bands for the amount of money you pay for it. It's the Zoom Livetrak L20. There is also a smaller Zoom L12 but it's really the L20 model that shines. I feel it's the best all in one device ever for tracking in a project studio. Really think your viewers and you would be impressed by it!
Hello Warren,
I am interested to know what do you think about the Neumann KH80 and KH120 speakers.
Keep up with your great channel, I am learning a lot !
Greetings from Berlin (GER)
Awesome video as usual 👍🍻
SouthEast Home Recording thanks ever so much my friend!
Produce Like A Pro different topic but, I used a few of your tips this week and blew my brother/free client ‘s mind. He was all like “ how??? What??? What did you do????” I was like, “ hold my beer!” Thanks for all the help you give us.🤙
SouthEast Home Recording wow! That’s so kind of you my friend!!
When I start watching Warren’s videos I just click the like button - ‘cause I’m sure it will be worth of it! Haven’t been proven wrong so far :)
P. Borealis you’re very kind my friend!!
Excellent my friend.. lot of good meat here to chew on. I appreciate this video so much. The question and answers here I have been asking myself for almost since high school, you answered them All with these particular great questions. Always wanted to be a professional producer but so much through my years have gone to other avenues, bands, college, and helping family like I do now. My passion is to surpass you since the beginning of Facebook friendship, just saying 😂😂😂 I don’t know how to get started for the life of me, sorry. Thanks again, beautifully done ✅- Thomas
Warren,
Would you do a video about using Melodyne for things other than vocals?
That would be marvelous.
Ryan
Jaja, just waiting for faq friday to come out
Hector Madrigal aw shucks! Thanks my friend!
I feel like Warren's advice on how to build relationships is some of the most useful info from any of the production channels out there now.
My question is for normalisation function on wave:
- Do you use normalisation and in what cases is good to used normalisation?
Hi Warren/guitarists: I saw that plugin alliance has a amp sim and pedals weeksale, 29/10 us dollars... I even bought one (even as a drummer), bx megadual for metalguitarsounds and more.. (I have Waves prs also!).. I hope this helped...
Helllo werram all of God's blessing..
I been learnimg much
I was hoping you would talk about the aston spirit micphone
Hi Warren, when you're mixing Hybrid through your desk, what medium are you recording the stereo output too? Back into Protools, or some other digital device (eg something like ADAT tapes)? Cheers, loving your vids, especially the Inside the Song sessions :)
Thanks Warren! Great insights and it’s good to hear thoughts and ways to do things that I still do to this day. I know you can’t say, but how on earth would or did you price doing work for The Fray. Especially knowing how big their anticipated second album was. Charging for the pressure alone would be on my list! :-). Also, when you got that particular project for The Fray, do you simply zone out of the fact the band were huge and just concentrate on music only? Sorry for the long comment, just so fascinating how a producer deals with bigger commercial projects. Keep up the great work! Marty
Warren excellent show awesome tips great job we ow you.Quick question...Have you ever done a metal album production ?If you have I'm extremely curious as for the methods you used.This might be s silly question but hey. . . cheers from Greece .
Hey, question for you! I work as a sound engineer at a theatre and mix bands live quite alot. I'm starting to get bit more in to studio-side of things and I was wondering about your thoughts on the differenses between live and studio?
"and, there is nothing more annoying than flamming away to a click track." - Warren Huart
I love some of the sayings Warren great advice as always...
Matthew Ward haha thanks my friend!!
Haha, ok there Johnny Cash! Great FAQ as always, Warren.
Hi jkbaca41 I’ve heard them all now I believe? Ep is, Shakin Stevens, 3 or 4 different RUclipsrs, a kids TV Host AND Johnny Cash! I’m A LOT of people’s doppelgängers haha glad you like the videos!
With my studio construction nearly done i'm starting to find artists to record, mix, or produce. My prices will be fairly low to (1) get a lot of work so I can learn my room and streamline my process, (2) start building a reputation. The ultimate goal is music to be my full time job. Until then, great music is my primary motivation not money.
Any advice dealing with other studios and not appear to be "under cutting" their prices or "stealing" work?
I'm doing drums, gtrs(sss) leads, bass, percussions. And i mix it. One customer pays me 500$ flat rate. It takes me about 3 Days for simple stuff ( blues cover)but a week for other stuff ( Hotel California) He pays me for remixes and ajustements. Thanks Man for the great Channel!!
any tips on how to get my business started?
@@krissinistar6959 Network , Tell people what you do. Start by doing stuff to get your name out there. Work cheap(er) for people you feel have something special to offer. And give more than you receIve! Work like your working with a million dollar artist. Start local but think big. Make the myths!! Cheers!
Hi Warren. Could you explain quickly what you mean by “standing wave”? Is it a particular frequency which has built up to the point where it becomes problematic? Is it related to comb filtering whereby a reflected sound wave will re enter the mic with inverted phase and cancel out? Amazing video as always :)
It seems like a Project Management course or two could help as well to set up a timeline of events to measure progress.
Yes! Marvellous idea!!
Hi Warren, kind of technical question here.
Know the change in sound of a stereo source on headphones, when the plug isn't fully inserted?
It's like listening to the background.
What's that exactly? Some kind of phase cancellation? Can it be of use for mixing and be created in the Box?
I'd really like to know.
Keep up the good work.
Greetings from Germany
About the first question. One sentence was sadly too familiar. I work as a freelance developer in my day job and I can't even count how often I shot myself in the knee by determine a final price upfront and had to work "for free" half the project.
Nice FAQ again, thanks Warren.
Absolutely Peter! I agree 100%!
Warren! Does having your monitors so close to the passive woofers of the Focal speakers affect their bass response? I see that wall of speakers behind you :)
In some cases, is an Artist and Engineer resolution used to determine the tempo of a track, and is a third party usually involved to help too?
Hey Warren, I have a question maybe one day you can reply on your FAQ friday. It's about ear care. How do you go about it? Do you visit a doctor to inspect your ears once in a while? Whats the right way to clean them? I heard that cotton swabs are pretty bad. Also ear plugs tend to push wax in the ears causing wax blockage over time. How to avoid problems like that?
Dear Warren, I looked into some multitracks and mixes going on over there, and I can't stress enough how thankful I am about all these insights.
But I have a special question, hoping it is appropriate. What I found out is, with all respect because there is work in progress and people show up to learn, what I do with stuff, it's imperfect and I'm too old to make reasonable money in this craft, but it sounds to me more "organic", more like a band, the style that made me fall in love with rock music so much, decades ago.
The question is, would it make sense to suggest doing it this way? Is it over and out, or would bands and engineers benefit? Hard to explain with words, but I did put "Good Lovin'" on Soundcloud. Comrades have mixes with wonderful guitar and drum sounds, and louder, but somehow it does not give me the experience that I am seeking with such melodies and recordings.
Thanks for reading. I love what you do for music culture.
(this is not about songs with a style from 90ies and younger)
Thank You for such an informative video. I am stepping into this industry with very less guidance from anyone. I really don't know anything about the business side of Music. I am a sound engineer and I am learning each and every day with the help of youtube and some great videos like this one. I am from India and I don't know whether this hourly paying structure works here. Little confused, how much to charge for a mix. Also, if the artist (staying far away) wants some corrections in the mix how many time should I make the corrections? Should there be any specific fee apart from the charges that I am already getting for a mix? This is sounding a bit stupid but sorry I have no one to guide me on this.
How do you cover the cost of the studio? Is this typically charged for separately from the engineer? Or is this a combined hourly or day rate. Do you discount for a weeks work?
Hi Gordon, every project is different. If for instance it's something I can do while working on other projects, ie a lot of editing work vs mixing then it's a different rate. Ultimately you have to get a handle on how much everything costs you and then charge accordingly.
Faq Friday Question!
I often see videos of professional mixers, producers, and, like you, mixing songs on youtube, but, they always are really well recorded, many can't afford to receive tracks that well recorded, and often have to make omelets with little ammount of eggs, would you mix live a song that's mildy average recorded and pull out the tricks in the book to make it decent ?
P.S. Well, this evolved into something that's not really a faq friday question, but a request!!
This is very relevant to my question here. I could be very wrong but something I've figured out recently is the biggest difference between the multitracks these guy get sent and the stuff we record in our home studios has to do with overall dynamic levels. The reason Neve preamps and other vintage analog front end gear is so prized is how it all deals with dynamic changes. The analog saturation evens out the dynamics and give higher headroom to louder sounding material-even without strict compression/limiting.
I really began to understand this from the practice of riding faders. That is going into automation and writing in volume drops when the meter reads above a certain volume on a given track. I found the more I did this on a song the more I understood what it meant for everything to "sit well in the mix". After a while you begin to hear things jump out of the mix without seeing on the meter.
Not only, certainly dynamics is a very important part, but to add to your line of thought (perceived volume vs actual volume read) it has also alot to do with composition, and properly glueing stuff in the mix (like hp/lp to remove unwanted energy, thus not kicking up volume levels with frequencies you don't hear or need, etc etc.
My biggest issue is actually the rough mix, it's the process of, you just finished recording, with the budget microphone you have, and produce something half decent without the ability to re-record! This is the holy grail of the majority of mixers/producers just starting without access to a major studio to ride along.
Warren you have used the term "Headphone ready" when reviewing mixes/productions. I think I know what you mean by this and you may well have explained before. I wonder if you could clarify this for me. (Paul Wickham)
Paradoxically, the people that have the budget will tipically have less arrangement issues and better recorded tracks. So you will not need to work for as many hours.
All it balances out if you’re very good at what you do. I can get form A-B far faster than people with less experience. I’ve had plenty of tracks sent to mix that had weeks of work that could have been done in a fraction of the time if the producer and engineer had more acquired knowledge.
Hi, Warren. Jon Usry here. Question: When mixing an album, and you want songs to bleed into one another - the outro of one song is the intro to another, a la Queen, Pink Floyd, for example. How do you do that? Should you just record the tracks in proper sequence and let the Mastering engineer handle the song transition per your instructions? Thank you for your help. Maybe you can explain this on next week's FAQ Friday. Cheers!
Hi Jon, marvellous question! Yes! Typically I let the mastering engineer take care of that when sequencing the album!
Thanks, Warren @@Producelikeapro
Yeah, the doing the math yourself and then giving band/artist a quote method works far better in my experience. I take a tracking deposit, and then I can give them their mix (not bothering with a bunch of emailed, shit quality mp3 rough mixes, I work local, pretty exclusively) when they are ready to pay for it, OR if someone has a death in the family or loses their day job or their house burns or they start shooting dope halfway through the process, it isn't a total loss, and I will generally give them their raw multi-tracks to mix themselves as long as I haven't grown to hate them.
Honestly, the WORST that has ever happened to me under this mode, is recording a band that was my first live show when I was 6, mixing, getting paid in full, then having the band get into some kind of argument, and they now evidently hate each other and want to pretend they never met.....so there's this 74 minute album, recorded in 2018, all new material, and it will likely never see daylight. Yes, I have it and that means I get to sit and listen to it, and anyone who is in my studio can hear it, but I can't publish it. I got paid for my work. It's not my album to put out. I want to say who. I want to say the names of the songs. I want to have a vinyl copy. I want to go to a release-party show and see them live one more time. I want my life to mean something.
Last text exchange was "Yeah, we aren't gonna release that shit" ....ME: "Why? It was GOOD!" .... "Thanks, but IDK what the deal is with (........) and (......) won't even answer my calls, fuck them" .... and that was it I guess.
Hmmm......ever play mediator between a band that were breaking up? Am I out of line? I look at them as friends, as mentors (in the sense of being in bands and playing live), and a band I grew up on. I see them as clients AFTER all that. I also know what it is like to have disputes, and I also know that it is important to resolve them when you've really got something good going on. My drummer is dead, I don't even have the option to play with him again. I feel like I could - if I got them in one room - kinda throw that in their faces to illustrate just how insignificant their petty dispute is compared to what they are destroying by not trying to resolve it. Ok, I need a drink.
I'm not a supporter of "elevator pitching" either. However, sometimes you just have to pitch in order to get the job. So, I say; don't pitch, but if you pitch than pitch the bejeezus out of it. Just my two cents...
I'm sorry that I'm slightly off-topic...
FAQ Friday
Thanks ever so much my friend!!
El Hombre de Negro ,the man in black Johny would be proud !!!
Haha thanks! Johnny Cash! He was amazing!
Thata clearly your favorite shirt. Haha
Great topic I was recently asked to mix and complete a whole album I'm no pro but do good work what is a good price ?
A good price is any amount you're comfortable with, so no one can answer that for you. Hope it helps.
@@MrBitterman75 thank you for the replays fam I know what I'm worth but peoples pockets be struggling lol
MF KNOWLEDGE you could work out a payment plan with them as well! Especially if the job is done over a few weeks!
FAQ in Black.
Mark Donnison haha yes!
It's almost the same as counselling!
Hi David Andrews aw shucks that’s a huge compliment my friend!!
@@Producelikeapro
You're welcome, Warren!
I trained as a psychologist but I'm also a musician and have other stuff going on (engineering physicist, maths teacher and general nerd), but I do some recording occasionally when I'm well enough. Not using DAWs, though: I cannot get on with them so well. But I use a lovely Zoom R-16 and a lovely handful of nice mics - budget but very decent. I love watching your videos - gets the dopamine spikes going a little, if I'm honest - the anticipation of something rewarding if I just do _something_ with my studio stuff (even if it's just tidying up and so on).
I've worked with other artists and it is really very important, as you say, to find out what their ideal outcome is. Just like in rational-emotive behavioural counselling (which I trained in). It's about finding out goals, ways of achieving them, resources available and how far they'll get us there, and what degree of difference we'll accept between the ideal and the actual. And learning to live with that difference.
Reactive depression going on for more than 10 years, so this was an interesting comment to write: I've found my thing for a behavioural activation plan ... it's a way of treating reactive depression and the associated lack of a dopamine spike with little regular 1:1 fixed ratio reinforcements: little treat for doing little thigns and then bigger treats for more meaningful things and then letting the feeling of having accomplished something take over as the reinforcer. Producers can use this when apathy sets in! ;)
Again - love the videos! Thank you for doing them.
Hi@@DavidAndrewsPEC, wow! Thanks ever so much for sharing your experiences! Nerds rule my friend! I really appreciate your amazing insight!
@@Producelikeapro
Pleasure and privilege to be able to share them, good sir.
I should tell you some time how I did my CSE music project ... it relied on synching two mono cassette recorders together without even the luxury the Beatles had with the two J37s they got to use for Sgt. Pepper! ;)
Whoa, I'm early! I have a question for FAQ friday:
I've recently become a big fan of riding faders on nearly everything when mixing (nothing crazy just hacking of 2-5db here and there, unless it really needs more than that). It's time consuming, but I love what it does for the overall mix.
My question is, besides completely flattening the dynamics, and introducing artifacts, are there any other deleterious effects this technique can have on a mix?
Hi Geoff! Riding faders is an amazing way to create amazing music! All of the greats have done it!!
That was a Marvelous response!@@Producelikeapro
And thanks for wearing black. I live in the backwoods and our Internet doesn't have color yet
I live in Georgia I feel ya.
michael tablet hahaha I grew up with no colour TV! My parents just had my Grand Dads old Black and white! They refused to get a colour TV!!
Hi Gilbert Spader Georgia is responsible for so much amazing music!!
@@Producelikeapro same here. And we only got 2 channels.
Produce Like A Pro Not Heavy Metal music but it's all good !!!
I was once in a studio where everything was covered in ashes. Working in a room that reeks of smoke is a deal breaker for me. Do you ever encounter this?
David I do not like working with people who smoke in the studio! Luckily hardly any artists I work with smoke! All of the older ones have given up and the younger ones don’t like it! But yes, there was a time 20 years ago when many people smoked!
Click it up! 🎤🎧🥁🎸👍🏼
Ryan Kirwan haha indeed
Hey Warren. How come my song sounds great through my monitors and studio headphones but terrible through Apple earbuds? I know all earbuds don't offer great sound, but it doesn't even sound like the same mix.
Blair Mix Project! 😬
Hi filtafacta haha nicely done!!
Hi warren, my question is: how do you get the gig when you’re starting out. Ive been trying to get work by emailing round to artists but no replies.. any tips appreciated!
One idea is to contact artist and tell them you would like to mix one song of theirs for free even though they have it being done by someone else so they can compare. If you get one or two artist that decide to give you a try and actually pay you for your work on their other songs then word of mouth and experience will get you even more.
l worked in a studio in Hollywood in the late 90's and Madonna would book a room for 24 hrs a day, for over a month, and just show up whenever, I wanna say it was like 3k an hour,
Hi Harry Henderson yowsa! Which Studio was that? I think the most I’ve paid a day in LA since ‘95 is $2,000 a day!
@@Producelikeapro Studio 56 , I may be off on the number, but they had crazy gear, and boards
Hi Harry Henderson indeed! Conway is around 2k a day (Max Martin was camped out there for ages!) and is one of the most expensive and well maintained studios in LA. So I imagine Studio 56 would be the same or less.
What would be the absolute minimum charge for mixing a song? I write and produce everything, I just want to make everything tidy and polished.
How difficult is it to be on time there in L.A., with all the choking traffic I've heard about? Here in NYC, it can take forever to get anywhere, regardless of if you drive or take our often unreliable public transportation system. Sometimes, it can take me two hours to get from my place in the northeast Bronx to my bandmate's place in western Brooklyn. I can get to my parents' house up in the boondocks of the mid-Hudson Valley in less time than that.
Hey Adam this is Gilbert from Glenn's channel . I am from Kingston NY . And lived in Poughkeepsie and Brooklyn thanks to my father working for IBM. Where are your parents?
@@gilbertspader7974 Wallkill, outside of Middletown, in Orange Co. They moved up there about ten years ago, but I've going up there since the mid-'70s, when my aunt and uncle moved up there from the city.
Where in Brooklyn did you live? My dad grew up in East Flatbush.
@@adamfox9651 Alexander Ave don't Remember much moved to Poughkeepsie when I was 6 . L&B Spamoni Garden was a high lite . I'm living in GA but coming to NY for vacation in June . I have friends near Wahlkill , High Falls , Rosendale .
@@gilbertspader7974 The only Alexander Ave I know is in the south Bronx, but I wouldn't be surprised if there's one in Brooklyn, too. (As my dad often says, "Only the dead know Brooklyn.")
Any friends in New Paltz? I used hang out there years ago when a friend of mine was going to the SUNY up there, and I have a cousin that moved there last year.
How are things in GA? I got a friend who moved down to the ATL several years ago. He's always trying to get me to go down there, but I hate traveling.
Adam Fox Had friends in the 70s in New Paltz most wiped out in 80s AIDS epidemic. Mark Wonowski is chef at SUNY I grew up with.