Multiband compression on the bass seems to help sometimes, although I don't understand how the attack of compression works on low end, say 60-150Hz... are there transients down there that need to be let through, or does that information always come through in the higher frequencies? Thanks for the video!
One good tip I was given. When mixing, put a low pass filter that only allows 200hz and below on your output channel. Switch off everything but the kick drum and bass. Introduce the other instruments 1 at a time. If that instrument is interfering with bass or kick, put a HPF or EQ on it until it stops. Do the same with all the other instruments. Then remove the low pass filter on the output channel.
Great tip ! As a live mixing engineer, my first step "go to" tip is : hpf on all tracks depending on the lowest note an instrument can produce. Ex : 40Hz lowest four strings bass's note, 80Hz lowest 6 strings guitar's note. Most of the time, I end up to have the hpf up to 80Hz on basses and 100Hz to 150hz on guitars (depending on situation). Due to the slope of the hpf, I can assure you that the FOH PA can reproduce the lows you've think have took away. nonetheless, it's a very good idea to check out what happens in the "below 200Hz zone" and clear it when needed (and it always need it ;)) Hope i was clear enough, sorry for my frenglish. Cheers
I’ve got to say my friend, what is wonderful about your video’s, isn’t just the encyclopedia of knowledge you have from working within the industry, it’s how you don’t alienate your audience. Thank you for what you said about headphone’s and using them productively. There’s many people who make these video’s who make you feel that it’s impossible without a Neve console, SSL etc. you’re a good guy.
As far as mixbus solutions go, last night I was going through a mix and I fixed everything on the mixbus. But I felt guilty about it. So then I used my Linear Phase EQ and Multiband compressor as a guide for what I wanted to fix. Like I realized I liked my mix better when I cut 2.4khz. So then I went through every single track and figured out what was causing a hump in that area. I found it. I fixed it. Then by the time I did all this, the mix sounded better without those mixbus plugins. So I removed them. And not only that, but the mix retained more of it's energy when I fixed it in the mix than when I fixed it on the mixbus.
Warren's positive attitude about making reasonable compromises to deal with less than ideal circumstances is so much more helpful than the same old "NEVER USE HEADPHONES THEY LIE!!" type "advice".
@@Producelikeapro Both can be useful in different situations for sure! To me, it sounds like you're using the Blue cans as a temporary check on the lows - would you *really* do an entire mix on those front-to-back? Thanks for all this amazing content dude, you truly put the PRO in producer.
@@OwenAdamsMusic thanks ever so much! The answer is Yes and No! Haha I have plenty off mixers only on headphones, however I do prefer to mix mainly on speakers and check on headphones!
@@Producelikeapro Checking on headphones is helpful！I will check it on my mobile phone after headphones. Sometimes I think there is something wrong when I check on the mobile phone but I have no idea to fix it.
@@刘逸辰-g2c Phone test has become essential for me, too. Stuff may sound OK everywhere, until I play it at night on my phone with no earbuds. It's such a brutal critic, worse than desktop PC speakers! Quite difficult to get things sound right also on those garbage mini speakers, especially if the music is busy and depends much on the low end, because that's just going to be lost there, mostly.
Hello young man, your video showed up in my feed, most likely because I am a guitarist and write my own music 🎵🎶🎵 ll :🎸 + 🍗 sticks + a🐟 bass =MUSIC Thank you for your video. I have been playing guitars since I was 16 and I am now 59 I record using a Boss BR - 8 Recording Studio and I also own a left-hand Mexican Fender Stratocaster. I recorded 7 CDs of my music, where I play all the different parts, that make up a song. After watching your video and other similar to yours. I plan to remaster my music using the techniques learned here. To thank you very much! I am a disabled musician and your contribution here is most valuable to me. Thank you very much!!! 😀👍
I’m a student in music production, and a long haul truck driver. You could say I mix with the bare minimum. I use audiotec headphones I mix with. Then I test on my custom sound system in my truck and apple headphones. It’s what I got. But it works. Love your videos Warren. You give me motivation and inspiration and tons of ideas. Thank you
Some of the best teachers have the ability and take the time to PROVIDE EXAMPLES.... When this guy started talking about 1) bass drum beaters "getting away from the head" and 2) bass guitarists who knew where their instruments sang and didn't sing I got the idea that a) he has been listening and q) he was worth listening to. .... VERY...VERY... well done. ... 100 years ago I and a buddy were watching the band "mountain" ( Leslie west, felix papalardi... song - Mississippi Queen) ... we were watching the band "pre-show"... and West was moving from place to place on the stage with a tech..... and he would stand in a location and just start playing.... and then his tech would use gaff tape and place a big "A", or "E"... or "G" on the floor where West was standing... and I and my buddy didnt get it..... but and older guy nest to us said.... "They're listening to the stage"..... "WHAt???!!!"..... They were experimenting and finding where THEIR amps,,, THEIR guitar,,,, and THAT stage... Resonated.....and in which keys vs locations on the stage.... OOOOOooooh..... the room and the stage ( the acoustic environment) were part OF the instrument,,, I'll bet that this Pro guy knows that.... But back then..... it helped me and my buddy see that we still had many lessons ahead and many jorneys to travel. The tech on this video opens the right doors to facilitate those new experiences
I have spent my whole life with champagne taste and a beer budget! So, what I have always done was to learn what I have. I have certain records/CD that I know and love intimately. I will spend time living with my system and my favorite music, until I KNOW my system. This has always worked for me, unfortunately in 30 plus years, I have never gotten anybody else to like anything that I have done. So, I just have fun and enjoy what I do, alone!
Delven Hamric this is real love for making music. Kudos! Don't forget, if people are not interested in your music it is often a compliment. Apparently your music has too much nuance to attract a wider audience. Only the real ones keep pushing, simply because making music is a reward in itself. Also, totally agree with you on the importance of knowing your system. Big up from the Netherlands 👊🏼
@@KenshoBeats have u ever heard his music? i mean, compliments are nice but it never helps to flat out lie to a person just to make em feel better... IJS
I barely mix on my monitors anymore unless listening for a reference. I've switched completely to headphones. Completely takes the room out of the equation! It's worked wonders.
One thing I've learned is that the area from 100 -250hz is often very cluttered as many instruments have fundamentals in this area so lots of masking going on. So, After getting kick and bass guitar leveled What i like to do is low cut everything else at 250hz for start. Then ill bring up the freq analyzer for each to determine eaches fundamental. If it falls in the 100-250hz area ill lower the low cut to bring it in and a/b it comparing to see if its fundamental is really needed. Often you can either completely cut it or reduce its energy a bit and it still sounds good. This keeps that area uncluttered and lowend clean.
"WHATEVER IT TAKES"...…....thank you!! 😊🙏 I don't have a studio, I'm in my bedroom....not a pro tuned space. I made a few absorber panels which help some, but it has taken a lot of time to become more confident in my space. LOTS of car checks, lots of burnt "coasters"...….I do what needs to be done for everyone involved to be happy. RTAs are indispensable for me.....I get heat for referencing with them. I'm told "mix with your ears not your eyes". I get that concept, and in many ways, agree.....BUT, if you don't have a well tuned room, you need some help so you know what's actually happening. I use SPAN from Voxengo, and it is my FRIEND! 😁 Always appreciate hearing people at your level pointing out the reality most of us live in.
I don't have anything related to say but still want to say something nice. You are one of the view who can give me the feeling that you care for me instead of making videos to boost your pride. You always make my day happier.
I seriously appreciate that you are one of the few people I've seen on RUclips that don't completely shun and knock mixing with headphones. It was actually helpful advice. Plain and simple. I love it
I am CONSTANTLY finding myself mixing with headphones despite having my own studio lol. It is still a GREAT way to hear things in the low end of the mix. Just rewatched this vid and then dropped a low end mgmt vid on my channel after getting inspired!
One of your tips here is to turn of the subwoofer. Man, this was an complete eye or better ear opener. I did that yesterday and it was like "WOW"... I have no professional room, the low end subwoofer problems you talked about... all mine. Turning it off was the best tip in the last 2 years after watching a trillion youtube videos... Thanks!
every day is a school day .. you never stop learning ..even if you've been at it for over 20 years you learn something new with each session. Lots of great tips out there ..you'll discover what works for you but one thing is certain... you need to put in the time
18:55 This is why we love Warren! Now THAT'S what I call a suitable bass-face for studio tracking :D It's so boring when you can see someone putting on their "I'm a serious RUclipsr" attitude... But Warren is just himself: when he gets buzzed about something, he's not gonna hold back, he LOVES music... and it truly shows :)
Warren, you continue to be one of the best (if not the top) production/mixing educators on the web - thanks again! For me, low end has been the bane of my mixing existence, and it's taken many years to get it figured out in my home studio. Ultimately, the answer was: 1) Installing enough treatment, with consultation and purchase from GIK Acoustics 2) Proper speaker placement, using excellent free advice and calculation tools from the great Carl Tatz 3) Buying Sonarworks Reference 4 for speakers and headphones. Note that I have two sets of monitoring setups, each of which use subwoofers. I agree that using a sub is tricky, but if you buy a good 'audiophile' sub and follow best practice for positioning and integrating it with your mains, then use Sonarworks to smooth out the response at the sweet spot, it's great! I also bought Sennheiser HD600 phones for use with Sonarworks because they are one of the flattest response you can get (HD650 good also). Finally, all of your great advice on mixing low end (high passing, etc) has been invaluable. I also do some tricks with sidechain ducking the bass during kick hits, which helps a lot. Thanks again!!
Hi T W Tobin wow! Thanks ever so much for your incredibly generous comment my friend! Thank you for sharing your insight and experiences that really helps us all!
Thanks for your comment! There’s a lot of tutorials using programmed drums, which of course is perfectly fine, but yes, that’s not helpful to those people mixing live drums who have a much greater set of issues to deal with than merely using triggered sampled sounds
Excellent. Just Excellent. It is such a pleasure to spend 45 minutes listening to somebody who REALLY knows what they are talking about. I would gladly listen to 45 minutes more on this topic.
I honestly love the inconsistencies of live instruments. I love the challenge of working on them and nothing sounds cooler to me than when I don't turn all the wave forms to a brick and you get some natural automation I get to accentuate from the energy and power that the players put into their instruments. Esspecially with drums, strings, and horns. Generally speaking a group of people playing live and doing so well sounds freaking amazing
I think this applies only to certain genres. you have to really be sure of what you are doing if you are to compress that much on a jazz track, for instance. you 'd be pushing your role in the mix. if the musicians are good, that is. if not..
I had a problem mix today and I used these filter methods and Woooowwww what a difference in my entire memory x. I am grateful for this advice because now my finished product is now "quite tasty." although not perfect but it's the best I can do with what I have. Cheers from America.
I watched this in 2022 or so ... back again in 2024. There's more information here now 😂. So many things you can only understand on practise. I picked up a huge amount of info again. Thank you so much 🙏
Usually, having the low-lows Mono is a great idea, unless we're taking electric guitars into acount, mostly in Metal. Those guitars tend to "become one with the bass" and if their low-end becomes all Mono, they sound weird or even weak. This only happens sometimes, not always. Great video as always, the "not all low-end tips are equal" really got me in.
Haha yes, indeed! Most of the Low End Tips videos I've seen are using programmed drums etc and that doesn't take into account the issues with have with live instruments!
I was listening to Black Sabbath’s Paranoid album the other day, and especially on the song Iron Man i was impressed with how stinking massive the guitars and bass sound. The bass is in the left channel and the guitar is on the right and man! It sounds amazing
During the 80s when I used to mix in lots of different rooms, I used to always take a master recording copy and play that in the room so that I would know what it sounds like compared to my previous understanding of my own mix.
I can’t thank PLAP enough for helping me with my Low End Mixing. Knowing how to mix my low end has “transformed” my mixes. Less muddiness in my tracks is the end result! Side chain on Kick & Bass Guitar helps a great deal too 😎👍 Awesome video Warren 👍👍🎸🎼🎤😎
Hi Martin Winterstein-Smith thanks ever so much my friend! I’m so glad to be able to help! You are an amazing part of your community!! Have a marvellous time recording, many thanks Warren
same here! after rewatching this a few times, i decided to make my own video on low end management too. Never can have too many tips and tricks out there!
Once again a great and absolutely important video. What I like to do on Bass is using Waves StudioRack and add a parallel split at around 70Hz. For the section underneath 70Hz I apply a relatively aggressive H-Comp that is sidechained by the Kick with a synced release of (mostly) an 8th note. So every time the kick comes in, the compressor is ducking the low end of the Bass, so the Kick can come through while for the rest of the time the Bass still has it’s low end.
Thank u for this. Not JUST gear centered. U have addressed behavior here...realistically. its the classic "its not the brush, its the artist" I needed to hear this. Adaptability and work with what u have and most of all respect ur ear. Whatever it takes. It prepares u to whatever gear, whatever genre, whatever envirnment, whatever client. Real talk. Thanks much. This works for me.
Fantastic job here! My Dad and I are just mixing my first couple of singles and the low end has been a challenge on one of the songs... I’m sure your tips here will clean things up ❤️
One of the most useful channels I've found on RUclips! Thank you for all the tips and the content (especially the videos with Graham)! It is really inspiring!
My general (massively oversimplified) HPF guidelines are to roll off anything below 30hz on the kick, anything below about 80hz on the bass, anything below 100-150hz on snares and guitars, 150-200hz on vocals, etc... These figures are completely arbitrary and can vary wildly depending of course on the program material...as they should. Nothing is concrete nor should it be with art...and mixing is very much an art. Point is that each instrument is given its own space to breath in the low end. This also allows speakers, any speaker, to push sound waves as efficiently as possible. It robs efficiency when the speaker is reproducing vocal microphone rumble at the same time it's trying to push the kick and bass guitar. Lack of the simple HPF (high pass filter) is THE biggest reason a new engineer's mixes sound bland, muddy, and lifeless. Go back to any of your early mixes and apply a HPF to each track. It's like lifting a muddy wet veil off your ears. It is one of the biggest "eureka" moments in any early engineer's career. That powerful tight low end comes from what you CUT not what you BOOST.
The secret is take care by cutting too much. Some instruments as guitar or horns can sound weak or without its natural body. The tip is using first a LPF and hear what you are cutting.
@@DenniWintyr Indeed. I'ld say it's a better idea to find the fundamental frequency of the kick and make a standard cut to the bass there instead of a high pass.
my process for good low end is 1: High quality EQ that can be pushed 12DB or more to boost the lows in kick and bass. Then multi-band compress only the bass under 150hz. Make sure kick and bass have different resonant peaks. The 'pro' sound is chunky low end with a bit of distortion to taste hitting a compressor with fast attack and moderate release. Thats pretty much it. As long as the starting signal is dynamic this will work really well.
Excellent video! I use a beyerdynamic DT770 Pro 250 ohm. Recently, the 8-year-old USB pre-amp I used to run it from my laptop burned out. I replaced it with a Dragonfly Red, which did not come cheap. My wife chastised me for spending so much on the USB DAC when she doesn't need one for her earbuds on her laptop. I explained that I need flat response so I can hear the full frequency range. That's why the DT770 250 ohm. And, I need a DAC that can drive it, so the Dragonfly Red. She still doesn't get it. But, thank you for the affirmation! It is so true that with the right cans (and DAC/preamp) you CAN hear the low end. And, that makes it adjustable, as mentioned in the excellent tips. FWIW, it was painful having to listen to the laptop output on these cans until the Dragonfly arrived. Thanks! :)
I just want to take a moment to thank you for your videos. They are all so helpful, packed with not just technical information and hands on real-world examples, but also more general, almost "philosophical" principles that never lose sight of what we who make music are trying to accomplish: to make great-sounding, moving, emotionally affecting pieces of art. I've been a musician, guitarist, and songwriter for a long time, and although I've been exploring recording and production for some time, I still consider myself a novice at that craft in many respects. Lately, I've been struggling with a lot of what's happening in the world, socially and politically. My mood has not been good. But, as it has all my life really, working on music never fails to lift me and make me feel better. Artists may not be the most important people on earth, but we have our little thing to contribute. I can't thank you enough for helping me carry on with what I believe to be my little contribution to a better world.
I am just watching this now after all this time, but your comments on the kick drum at around 11 minutes in are insightful, informative, and presented in a way I had not ever heard. This is something we can use. Thanks for sharing.
So glad that someone else uses headphones to mix on... Also, thanks for highlighting the need to listen in different ways, in different places... Where you're listening has A HUGE difference to what you're listening to (the car is one of the WORST environments - weirdly, often the true acid test for many a mix IMHO). As a side note - one of the best places I heard music in that wasn't a nightclub or a gig place - was the old Cyberdog store in Camden. It was just so good. In a remix I finished recently - I used the highpass trick on a reverb. There was a big subbass synth tone going into it and the rumbling from the verb was just eating everything. Highpass saved the day 😊
I’ve been recording stuff on a TASCAM 4 track cassette and two things are super clear: 1) gentle high pass shelves are amazing 2) I can't mess with the master buss and everything seems to work out fine
I mix electronic music, and have just started to place a mic in my studio to record. I've learned so much by listening to you talk and interviewing huge studio techs. Thanks a million for posting your knowledge on here.
This is the best video on mixing the low end I've ever seen. This cleared up so many possible issues a learning producer may encounter when mixing the low end. Your advice about keeping the low sub region clean to make it fatter is a game changer. The advice on the dynamic range of real instruments vs virtual instruments was also something I found to be incredibly useful.
The way I get used to what ever room/system I’m monitoring on is to listen to music I know well. I use headphones a lot, and they are a little hyped in the lows, so I listen to other people’s mixes so I can get used to the sound of the headphones. Then I just make my mixes sound like that, as far as balance is concerned.
Yes indeed. I always test my mix though the home and car stereo to check the listeners perspective. Old style these days maybe but I learned it from a colleague who has been recording for years. Thanks Warren...
Two Key you’re very welcome my friend! That means a lot! I really wanted to answer everyone’s questions to the best of my ability and I know there is a lot of confusing information out there!
Thanks so much for all the great advice and tips. After 20 years of recording and mixing, mostly myself, My mixes and tracking have been flat. Now, they translate to different rooms, headphones, speakers WAY better. I am 70 and learning every day. The cool part is I have a great New mini studio and it is really great. Cheers! And keep up the good work.
If you don't have 45 minutes to listen to the whole thing, just skip to 36:52 for a synopsis. "Oon jeh oon jeh, like zer zan zoon zah and a oom om om."
Another great episode! I love how you remind the audience, that our function isn't supposed to be perfect. You said it well: "Wrongness is fantastic!" Imperfections are often the character we seek, within reason. Very informative and genuinely realistic approach!
Thanks so much! Ive been in & out of studios as singer, songwriter, guitarist all my life, and now working in the box for myself, your tips are invaluable. I loved hanging with producers & engineers whilst they were doing their thing, but obviously couldn't be picking their brains continuously....
I’ve just moved my studio to my second floor. At the moment, there are no acoustic treatment in the studio. The room is built with natural untreatned wood. The acoustic ain’t bad, but I have problems with the bass flowing in the room. So I’m using my Beyerdynamic DT990 pro and my DT770 pro to help me with the references.
I'm so happy you mentioned the car..that's my "audition " room sometimes I thought I'd have a good mix then when I take it to the car it's more Muddy than the outside of my car....
How is it some of the Beatles early stuff had drums and/or bass on one side, yet still sounded great. And why didn't that create a problem for the mastering engineer?
Hi Neal Fox thanks for the wonderful question! As we were talking about in the video the low end on those albums didn’t go anywhere near as low as you can go now! Modern albums go so low now!
@@Producelikeapro Thanks. And yet, they still sounded great. I remember recording my first album in 1971. Really wanted to emulate the Beatles. Took me years in the studio to understand what they were doing (with George Martin, of course.) Don't know who mastered my early stuff, but the first time I heard it on a jukebox sandwiched between to hits, what a disappointment. Mine was so low in volume. And it was mastered by pros. Took another few years to find out why. Thanks for your channel. Really great!
Glad to finally see a sound engineer promoting headphones. If you do that as an amateur in the comment section, you usually get a lot of flak for it. But there is a reason why Sony's MDR-7506 have been Hollywood's #1 headphones for everything from sound engineering to monitoring on set for years, if not decades, now. They are also _my_ go-to solution for primary mixing. I occasionally cross-check with my speakers, and I refine the result over weeks listening to my current mix in the car on my way to work and back, which also gives me the distance I need to be able to judge the mix. Of course my mixes are not brilliant, but they sure are _good._ Also: using spectrum analyzers? Oh boy, there is a _lot_ of dissing going on about these. Me, I love'em. For exactly the reason that you name: what I can't _hear,_ I'll have to _see._ But there are plenty of mixing channels out there who will call that mixing for noobs.
I really don't know if I'm getting better at mixes with your videos Warren, but I'm having the time of my life trying to get there. Learning all the time is so much fun when it is about something you love and with audio it seems like it is a never ending source of knowledge, because just when you think you know it all, there's more and more. Watching your videos is an amazing and fun experience and it is just like sharing your knowledge with someone who is as passionate as you, more like getting geek on a wonderful topic, as always THANK YOU VERY MUCH SIR!!!
Warren, finding your videos has re-activated my passion about mixing. After a decade of live mixing coming to a screeching halt, your content has helped me so much in as much at home and streaming work I can find. I wish I could afford the academy, perhaps when all of this is over. I just wanted to thank you personally for going so in-depth and not being afraid of the long form video. Cheers.
Top Tip for Eq'ing on most Protools EQ plugs: hold CTRL SHIFT when clicking on the coloured dots on the EQ display. Cuts all levels around that band. Very handy to save your ears and your speakers. (was featured on a similar video).
I enjoy your style and info. You are experienced enough to be able to speak confidently about what one can expect when traveling down various sonic roads. You are clear and obviously still very passionate about what you do. I specifically like how you focus on the WHY which makes your demonstrations of the HOW so much more beneficial. I've been engineering for more than 20 years now and I continue to learn cool things from you everytime I watch. Keep up the great work! - Alex
If you can't afford acoustic treatment, or are working in a temporary space, bring in all the clothes you have, like the hamper if it's not solid, and open all the doors and windows. The clothes will absorb sound and the windows will prevent it from reflecting or resonating. If you wanna know what bass traps do for your room, stand by an open window and talk out of it. Then stand in front of a wall and talk in front of it. The difference in what you hear is what absorption does. If you want proper treatment, you'll want at least 15% coverage with 4" rigid or 1'-thick fluffy panels. Make sure to cover your first reflection points first to create a Reflection Free Zone. Look up 'the mirror trick' for acoustics. Ideally, you'll go further with up to 8" rigid or 2-3' fluffy covering a greater percentage of your large surfaces. You're aiming for < +-10dB SPL deviation and 20dB of decay within 150ms above 63Hz at your listening position. These are not commandments, just decent guidelines that I've followed myself.
Getting a good subwoofer allowed me to save money and space on the monitors (amazing sounding 4" Genelecs). To balance the volume of the sub relative to the monitors is tricky, as you have to carefully adjust the cutoff frequency of the sub and "play" with the modes (and moods) of your room. I used reference mixes and turned up the sub volume so it's just noticeable in the sweet spot. You still have to compensate for the modes (resulting in boosted frequencies with a desceptively longer decay/resonating rumble that's your room, not the music). Knowing your room means knowing which frequencies aren't reproduced flat by your speakers in the room and knowing to compensate for it in your mind. Another good tip for untreated rooms is to get to know the location of peaks and voids its modes produce at the lower frequencies. That way, you can walk around and average them out in your mind.
Do you have any favorite tips & tricks you use when mixing low end?
i'm struggling with this big time sir! having a listen now.
So good! Yes, let me think LOL!
You have to clean it up to big it up!
@@ragingchimera8021 cool! led zipplin could have been alot bigger then? in terms of sound. they were huge! hehe
Multiband compression on the bass seems to help sometimes, although I don't understand how the attack of compression works on low end, say 60-150Hz... are there transients down there that need to be let through, or does that information always come through in the higher frequencies? Thanks for the video!
One good tip I was given. When mixing, put a low pass filter that only allows 200hz and below on your output channel. Switch off everything but the kick drum and bass. Introduce the other instruments 1 at a time. If that instrument is interfering with bass or kick, put a HPF or EQ on it until it stops. Do the same with all the other instruments. Then remove the low pass filter on the output channel.
No Name yes! That’s a great tip! Also for those that have a sub you can solo it and see what else is rumbling away down there!
Great tip ! As a live mixing engineer, my first step "go to" tip is : hpf on all tracks depending on the lowest note an instrument can produce. Ex : 40Hz lowest four strings bass's note, 80Hz lowest 6 strings guitar's note. Most of the time, I end up to have the hpf up to 80Hz on basses and 100Hz to 150hz on guitars (depending on situation). Due to the slope of the hpf, I can assure you that the FOH PA can reproduce the lows you've think have took away. nonetheless, it's a very good idea to check out what happens in the "below 200Hz zone" and clear it when needed (and it always need it ;)) Hope i was clear enough, sorry for my frenglish. Cheers
Great tip.Thank you
@@kick2789 The tip came from the designer of the Mastering The Mix plugins, he knows his stuff. Your English is much better than my French!
shouldn't the snare also be below 200 Hz?
Sir, you have already prepared a special place in heaven. You're the biggest gift for all aspiring mixers.
Wow!! Thanks ever so much
I concur vehemently! Warren you are a treasure!
I’m new to this party but I have to agree wholeheartedly.
I’ve got to say my friend, what is wonderful about your video’s, isn’t just the encyclopedia of knowledge you have from working within the industry, it’s how you don’t alienate your audience. Thank you for what you said about headphone’s and using them productively. There’s many people who make these video’s who make you feel that it’s impossible without a Neve console, SSL etc.
you’re a good guy.
Wow! Thanks ever so much! That’s very kind of you to say
As far as mixbus solutions go, last night I was going through a mix and I fixed everything on the mixbus. But I felt guilty about it. So then I used my Linear Phase EQ and Multiband compressor as a guide for what I wanted to fix.
Like I realized I liked my mix better when I cut 2.4khz. So then I went through every single track and figured out what was causing a hump in that area. I found it. I fixed it.
Then by the time I did all this, the mix sounded better without those mixbus plugins. So I removed them. And not only that, but the mix retained more of it's energy when I fixed it in the mix than when I fixed it on the mixbus.
I should frame this comment!! Very well said!!
Warren's positive attitude about making reasonable compromises to deal with less than ideal circumstances is so much more helpful than the same old "NEVER USE HEADPHONES THEY LIE!!" type "advice".
Thanks ever so much my friend! That comment really means a lot! I’m so glad to be able to help! Have a marvellous time recording, many thanks Warren
@@Producelikeapro Both can be useful in different situations for sure! To me, it sounds like you're using the Blue cans as a temporary check on the lows - would you *really* do an entire mix on those front-to-back? Thanks for all this amazing content dude, you truly put the PRO in producer.
@@OwenAdamsMusic thanks ever so much! The answer is Yes and No! Haha I have plenty off mixers only on headphones, however I do prefer to mix mainly on speakers and check on headphones!
@@Producelikeapro Checking on headphones is helpful！I will check it on my mobile phone after headphones. Sometimes I think there is something wrong when I check on the mobile phone but I have no idea to fix it.
@@刘逸辰-g2c Phone test has become essential for me, too. Stuff may sound OK everywhere, until I play it at night on my phone with no earbuds. It's such a brutal critic, worse than desktop PC speakers! Quite difficult to get things sound right also on those garbage mini speakers, especially if the music is busy and depends much on the low end, because that's just going to be lost there, mostly.
Hello young man, your video showed up in my feed, most likely because I am a guitarist and write my own music
🎵🎶🎵 ll :🎸 + 🍗 sticks + a🐟 bass =MUSIC Thank you for your video. I have been playing guitars since I was 16 and I am now 59
I record using a Boss BR - 8 Recording Studio and I also own a left-hand Mexican Fender Stratocaster. I recorded 7 CDs of my music, where I play all the different parts, that make up a song. After watching your video and other similar to yours. I plan to remaster my music using the techniques learned here. To thank you very much! I am a disabled musician and your contribution here is most valuable to me. Thank you very much!!! 😀👍
how is this free. i feel like i am stealing watching this. this is so good.
don´t worry Warren gets money from RUclips views :D
You're very kind Alex!!
@@CestLaVie73 Haha no I rarely do! It's ok! The music I use means the artist gets the revenue and I'm fine with that!
Agreed! Probably the most articulate, complete, concise & tip-filled vid I've seen low end. Well done Warren!
AGREED! i feel like I made out like a bandit. I just made my own vid on low end management as well after getting inspired by this one!
I’m a student in music production, and a long haul truck driver. You could say I mix with the bare minimum. I use audiotec headphones I mix with. Then I test on my custom sound system in my truck and apple headphones. It’s what I got. But it works. Love your videos Warren. You give me motivation and inspiration and tons of ideas. Thank you
Some of the best teachers have the ability and take the time to PROVIDE EXAMPLES.... When this guy started talking about 1) bass drum beaters "getting away from the head" and 2) bass guitarists who knew where their instruments sang and didn't sing I got the idea that a) he has been listening and q) he was worth listening to. .... VERY...VERY... well done. ... 100 years ago I and a buddy were watching the band "mountain" ( Leslie west, felix papalardi... song - Mississippi Queen) ... we were watching the band "pre-show"... and West was moving from place to place on the stage with a tech..... and he would stand in a location and just start playing.... and then his tech would use gaff tape and place a big "A", or "E"... or "G" on the floor where West was standing... and I and my buddy didnt get it..... but and older guy nest to us said.... "They're listening to the stage"..... "WHAt???!!!"..... They were experimenting and finding where THEIR amps,,, THEIR guitar,,,, and THAT stage... Resonated.....and in which keys vs locations on the stage....
OOOOOooooh..... the room and the stage ( the acoustic environment) were part OF the instrument,,,
I'll bet that this Pro guy knows that....
But back then..... it helped me and my buddy see that we still had many lessons ahead and many jorneys to travel.
The tech on this video opens the right doors to facilitate those new experiences
Wow!! Thanks ever so much for your great comment!! I really appreciate your insight
I have spent my whole life with champagne taste and a beer budget! So, what I have always done was to learn what I have. I have certain records/CD that I know and love intimately. I will spend time living with my system and my favorite music, until I KNOW my system. This has always worked for me, unfortunately in 30 plus years, I have never gotten anybody else to like anything that I have done. So, I just have fun and enjoy what I do, alone!
Delven Hamric this is real love for making music. Kudos! Don't forget, if people are not interested in your music it is often a compliment. Apparently your music has too much nuance to attract a wider audience. Only the real ones keep pushing, simply because making music is a reward in itself. Also, totally agree with you on the importance of knowing your system. Big up from the Netherlands 👊🏼
@@KenshoBeats these comments are something I needed to see.
Delven, do you have it out somewhere?
@@KenshoBeats
have u ever heard his music? i mean, compliments are nice but it never helps to flat out lie to a person just to make em feel better... IJS
@@blackfistmediagroup5779 no need for negative vibes.. I’m complimenting his attitude as you can read..
After a year hiatus from recording, this channel and Warren has inspired me to get back to doing what I live doing best.🙂
Wow! That's amazing to hear Randal! Welcome back!
That's awesome Randal. Maybe that break will breed new exciting ideas!
@@induhgo_ agreed 100%!
@@Producelikeapro !!
I barely mix on my monitors anymore unless listening for a reference. I've switched completely to headphones. Completely takes the room out of the equation! It's worked wonders.
I'm thinking to do the same. What kind of headphones do you have?
Thanks.
Ive never been able to make a mix translate properly when mixing sole on headphones
100% agree! I learned how to get my low end to sound good in a plane using earbuds! You gotta know what sounds good to get it right! Such great tips!
Thanks ever so much!!
One thing I've learned is that the area from 100 -250hz is often very cluttered as many instruments have fundamentals in this area so lots of masking going on. So, After getting kick and bass guitar leveled What i like to do is low cut everything else at 250hz for start. Then ill bring up the freq analyzer for each to determine eaches fundamental. If it falls in the 100-250hz area ill lower the low cut to bring it in and a/b it comparing to see if its fundamental is really needed. Often you can either completely cut it or reduce its energy a bit and it still sounds good. This keeps that area uncluttered and lowend clean.
"WHATEVER IT TAKES"...…....thank you!! 😊🙏
I don't have a studio, I'm in my bedroom....not a pro tuned space. I made a few absorber panels which help some, but it has taken a lot of time to become more confident in my space. LOTS of car checks, lots of burnt "coasters"...….I do what needs to be done for everyone involved to be happy.
RTAs are indispensable for me.....I get heat for referencing with them. I'm told "mix with your ears not your eyes". I get that concept, and in many ways, agree.....BUT, if you don't have a well tuned room, you need some help so you know what's actually happening. I use SPAN from Voxengo, and it is my FRIEND! 😁
Always appreciate hearing people at your level pointing out the reality most of us live in.
I don't have anything related to say but still want to say something nice. You are one of the view who can give me the feeling that you care for me instead of making videos to boost your pride. You always make my day happier.
Wow! Thanks ever so much!
I seriously appreciate that you are one of the few people I've seen on RUclips that don't completely shun and knock mixing with headphones. It was actually helpful advice. Plain and simple. I love it
I am CONSTANTLY finding myself mixing with headphones despite having my own studio lol. It is still a GREAT way to hear things in the low end of the mix. Just rewatched this vid and then dropped a low end mgmt vid on my channel after getting inspired!
You're very welcome Julian!
@@OneMoreTimePod yes! Whatever it takes to make great music!
One of your tips here is to turn of the subwoofer. Man, this was an complete eye or better ear opener. I did that yesterday and it was like "WOW"... I have no professional room, the low end subwoofer problems you talked about... all mine. Turning it off was the best tip in the last 2 years after watching a trillion youtube videos... Thanks!
every day is a school day .. you never stop learning ..even if you've been at it for over 20 years you learn something new with each session. Lots of great tips out there ..you'll discover what works for you but one thing is certain... you need to put in the time
Yes, agreed Nik! I'm always learning!
@@Producelikeapro 🙌
I love this comment! Yes! Everyday is a school day. Learn as much and apply. Dnt b afraid to make mistakes..itl make us all better. Good day!
So great to have an actual pro talk about this.
Too many newbies trying to sound like pros in YT.
18:55 This is why we love Warren! Now THAT'S what I call a suitable bass-face for studio tracking :D
It's so boring when you can see someone putting on their "I'm a serious RUclipsr" attitude... But Warren is just himself: when he gets buzzed about something, he's not gonna hold back, he LOVES music... and it truly shows :)
Aw shucks thanks ever so much! And yes I LOVE music!!
Warren, you continue to be one of the best (if not the top) production/mixing educators on the web - thanks again! For me, low end has been the bane of my mixing existence, and it's taken many years to get it figured out in my home studio. Ultimately, the answer was: 1) Installing enough treatment, with consultation and purchase from GIK Acoustics 2) Proper speaker placement, using excellent free advice and calculation tools from the great Carl Tatz 3) Buying Sonarworks Reference 4 for speakers and headphones. Note that I have two sets of monitoring setups, each of which use subwoofers. I agree that using a sub is tricky, but if you buy a good 'audiophile' sub and follow best practice for positioning and integrating it with your mains, then use Sonarworks to smooth out the response at the sweet spot, it's great! I also bought Sennheiser HD600 phones for use with Sonarworks because they are one of the flattest response you can get (HD650 good also). Finally, all of your great advice on mixing low end (high passing, etc) has been invaluable. I also do some tricks with sidechain ducking the bass during kick hits, which helps a lot. Thanks again!!
Hi T W Tobin wow! Thanks ever so much for your incredibly generous comment my friend! Thank you for sharing your insight and experiences that really helps us all!
Seeing the Bass guitar in action, really helped send home the concept. Thank you
Thanks ever so much!
This was spot on. I hate mix and recording tutorials when their demo is programmed instruments and nothing is live.
Thanks for your comment! There’s a lot of tutorials using programmed drums, which of course is perfectly fine, but yes, that’s not helpful to those people mixing live drums who have a much greater set of issues to deal with than merely using triggered sampled sounds
Im gonna get Warrens face tattooed on me with script that says "Doin' Marvelously Well"
Haha I wouldn’t! But thanks
Excellent. Just Excellent. It is such a pleasure to spend 45 minutes listening to somebody who REALLY knows what they are talking about. I would gladly listen to 45 minutes more on this topic.
Hi foleyvideo thanks ever so much!!
Exactly
I honestly love the inconsistencies of live instruments. I love the challenge of working on them and nothing sounds cooler to me than when I don't turn all the wave forms to a brick and you get some natural automation I get to accentuate from the energy and power that the players put into their instruments. Esspecially with drums, strings, and horns. Generally speaking a group of people playing live and doing so well sounds freaking amazing
I hear 100% Odin! I love live instruments as well! So much fun to mix!! Real performances and amazing musicians are what I love!
I think this applies only to certain genres. you have to really be sure of what you are doing if you are to compress that much on a jazz track, for instance. you 'd be pushing your role in the mix. if the musicians are good, that is. if not..
I had a problem mix today and I used these filter methods and Woooowwww what a difference in my entire memory x. I am grateful for this advice because now my finished product is now "quite tasty." although not perfect but it's the best I can do with what I have. Cheers from America.
Thanks ever so much!
"I can't mix, what i can't hear" is my new excuse to my wife for why i need new shit.
Oh, thank you for that!
Haha Thanks ever so much Richard!
Well said.
Cant hear it? Do the dimebag move: CRANK IT! *HARD*
Need that sub, and new $100 headphones, baby
Warren! what a killer you are man, so thankful for all the beautiful sharing of your knowledge and expertise. Blessings!
Thanks ever so much!
Some bass players play grooving parts with one finger (index), to keep almost equal velocity. Thank you for precious tips!
Yes, I work with many players who only use one finger for 90% of their performance!
I’m way steadier pumping with one finger too. Whatever gets the job done
I watched this in 2022 or so ... back again in 2024. There's more information here now 😂. So many things you can only understand on practise. I picked up a huge amount of info again. Thank you so much 🙏
Usually, having the low-lows Mono is a great idea, unless we're taking electric guitars into acount, mostly in Metal. Those guitars tend to "become one with the bass" and if their low-end becomes all Mono, they sound weird or even weak. This only happens sometimes, not always.
Great video as always, the "not all low-end tips are equal" really got me in.
Haha yes, indeed! Most of the Low End Tips videos I've seen are using programmed drums etc and that doesn't take into account the issues with have with live instruments!
I was listening to Black Sabbath’s Paranoid album the other day, and especially on the song Iron Man i was impressed with how stinking massive the guitars and bass sound. The bass is in the left channel and the guitar is on the right and man! It sounds amazing
During the 80s when I used to mix in lots of different rooms, I used to always take a master recording copy and play that in the room so that I would know what it sounds like compared to my previous understanding of my own mix.
This video from 5 months back relates well and is useful; 'Mixing Basics: Bass - Warren Huart: Produce Like A Pro'
Thanks ever so much Brian!
Your knowledge is a gift to us all. But IMHO, your ability to communicate is your greatest gift. Thank you.
I can’t thank PLAP enough for helping me with my Low End Mixing. Knowing how to mix my low end has “transformed” my mixes. Less muddiness in my tracks is the end result! Side chain on Kick & Bass Guitar helps a great deal too 😎👍 Awesome video Warren 👍👍🎸🎼🎤😎
Hi Martin Winterstein-Smith thanks ever so much my friend! I’m so glad to be able to help! You are an amazing part of your community!! Have a marvellous time recording, many thanks Warren
Robbie Shakespeare is by far the most consistent bass player I've heard. Beautiful round tone and so effortless.
I learn new knowledge everytime I watch this video. I mean everytime, thanks, Warren.
Thanks ever so much
@@Producelikeapro Good coaching, great instructions & sharing. Thank YOU ever so much.
same here! after rewatching this a few times, i decided to make my own video on low end management too. Never can have too many tips and tricks out there!
Warren, that was simply the best tutorial video I have ever seen on mixing low end! Thanks and may Jesus bless you.
this is the most complete information on the low end I have seen. Thank you. You confirmed a lot of tricks I use.
Thank you Max!! Fantastic! I'm so glad to be able to help! Have a marvellous time recording and mixing, many thanks Warren
Once again a great and absolutely important video.
What I like to do on Bass is using Waves StudioRack and add a parallel split at around 70Hz. For the section underneath 70Hz I apply a relatively aggressive H-Comp that is sidechained by the Kick with a synced release of (mostly) an 8th note. So every time the kick comes in, the compressor is ducking the low end of the Bass, so the Kick can come through while for the rest of the time the Bass still has it’s low end.
37:58 I can't help but seeing the wonderful sarcasm in his face
Thank u for this. Not JUST gear centered. U have addressed behavior here...realistically. its the classic "its not the brush, its the artist" I needed to hear this. Adaptability and work with what u have and most of all respect ur ear. Whatever it takes. It prepares u to whatever gear, whatever genre, whatever envirnment, whatever client. Real talk. Thanks much. This works for me.
Fantastic job here! My Dad and I are just mixing my first couple of singles and the low end has been a challenge on one of the songs... I’m sure your tips here will clean things up ❤️
Hi SkyeHigh Stapor that’s amazing to hear! Happy to be able to help!!
When I find myself resorting to guessing, and wasting time in the process, I come here for the answers. Simple. Thanks a million!
Wow! Thanks ever so much
One of the most useful channels I've found on RUclips! Thank you for all the tips and the content (especially the videos with Graham)! It is really inspiring!
Hi Sanyi Endrődy thanks ever so much!!
SubPac is fantastic!! I feel from 10hz up to 150 hz without any problems!! Recommend for every home studio!!!
This is something everyone struggles with thank you for covering it
I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
Everything here is 1000% true. I wish this had come out 20 years ago so I didn't have to figure it out on my own. This is GOLD!
My general (massively oversimplified) HPF guidelines are to roll off anything below 30hz on the kick, anything below about 80hz on the bass, anything below 100-150hz on snares and guitars, 150-200hz on vocals, etc...
These figures are completely arbitrary and can vary wildly depending of course on the program material...as they should. Nothing is concrete nor should it be with art...and mixing is very much an art.
Point is that each instrument is given its own space to breath in the low end. This also allows speakers, any speaker, to push sound waves as efficiently as possible. It robs efficiency when the speaker is reproducing vocal microphone rumble at the same time it's trying to push the kick and bass guitar.
Lack of the simple HPF (high pass filter) is THE biggest reason a new engineer's mixes sound bland, muddy, and lifeless. Go back to any of your early mixes and apply a HPF to each track. It's like lifting a muddy wet veil off your ears.
It is one of the biggest "eureka" moments in any early engineer's career. That powerful tight low end comes from what you CUT not what you BOOST.
Hi Geek Therapy Radio thanks ever so much for sharing your insight and experience!!
The secret is take care by cutting too much. Some instruments as guitar or horns can sound weak or without its natural body. The tip is using first a LPF and hear what you are cutting.
@@manobap yes, indeed!
The fundamental frequency of the E string of a standard tuned bass is 41.2hz, not sure I'd want to get rid of that
@@DenniWintyr Indeed. I'ld say it's a better idea to find the fundamental frequency of the kick and make a standard cut to the bass there instead of a high pass.
my process for good low end is 1: High quality EQ that can be pushed 12DB or more to boost the lows in kick and bass. Then multi-band compress only the bass under 150hz. Make sure kick and bass have different resonant peaks. The 'pro' sound is chunky low end with a bit of distortion to taste hitting a compressor with fast attack and moderate release. Thats pretty much it. As long as the starting signal is dynamic this will work really well.
Great subject ! Watching now !!
Thanks ever so much!!
Excellent video!
I use a beyerdynamic DT770 Pro 250 ohm. Recently, the 8-year-old USB pre-amp I used to run it from my laptop burned out. I replaced it with a Dragonfly Red, which did not come cheap.
My wife chastised me for spending so much on the USB DAC when she doesn't need one for her earbuds on her laptop. I explained that I need flat response so I can hear the full frequency range. That's why the DT770 250 ohm. And, I need a DAC that can drive it, so the Dragonfly Red.
She still doesn't get it. But, thank you for the affirmation! It is so true that with the right cans (and DAC/preamp) you CAN hear the low end. And, that makes it adjustable, as mentioned in the excellent tips.
FWIW, it was painful having to listen to the laptop output on these cans until the Dragonfly arrived.
Thanks! :)
I’ve mixed through a radio before and got good results
That's amazing to hear Freddy! Thanks for sharing!
I just want to take a moment to thank you for your videos. They are all so helpful, packed with not just technical information and hands on real-world examples, but also more general, almost "philosophical" principles that never lose sight of what we who make music are trying to accomplish: to make great-sounding, moving, emotionally affecting pieces of art. I've been a musician, guitarist, and songwriter for a long time, and although I've been exploring recording and production for some time, I still consider myself a novice at that craft in many respects. Lately, I've been struggling with a lot of what's happening in the world, socially and politically. My mood has not been good. But, as it has all my life really, working on music never fails to lift me and make me feel better. Artists may not be the most important people on earth, but we have our little thing to contribute. I can't thank you enough for helping me carry on with what I believe to be my little contribution to a better world.
Droppin the BEST knowledge on Production. A+++++++
Hi bcoe2 thanks ever so much my friend!!
Love it when you started singing saw and sine waves around 37:00. Priceless.
such smart processing man, fucking legend
Thanks ever so much!!
I am just watching this now after all this time, but your comments on the kick drum at around 11 minutes in are insightful, informative, and presented in a way I had not ever heard. This is something we can use. Thanks for sharing.
Hello Warren ! I really enjoyed this episode. Loved the bass guitar tip's !! Cheer's !!!
Hi Edwin Crain thanks ever so much my friend! I’m glad to be able to help!
So glad that someone else uses headphones to mix on...
Also, thanks for highlighting the need to listen in different ways, in different places... Where you're listening has A HUGE difference to what you're listening to (the car is one of the WORST environments - weirdly, often the true acid test for many a mix IMHO).
As a side note - one of the best places I heard music in that wasn't a nightclub or a gig place - was the old Cyberdog store in Camden.
It was just so good.
In a remix I finished recently - I used the highpass trick on a reverb.
There was a big subbass synth tone going into it and the rumbling from the verb was just eating everything.
Highpass saved the day 😊
One String my go to 🎸always informative great vid 👍🏻
Thanks ever so much Ryan!
I’ve been recording stuff on a TASCAM 4 track cassette and two things are super clear:
1) gentle high pass shelves are amazing
2) I can't mess with the master buss and everything seems to work out fine
"Schnizzel-ton." My new favorite adjective.
1 Schnizzel-ton = ~480g
@@davelordy - Ha - yes - give or take a smidge-weight.
I mix electronic music, and have just started to place a mic in my studio to record. I've learned so much by listening to you talk and interviewing huge studio techs. Thanks a million for posting your knowledge on here.
This is the best video on mixing the low end I've ever seen. This cleared up so many possible issues a learning producer may encounter when mixing the low end.
Your advice about keeping the low sub region clean to make it fatter is a game changer. The advice on the dynamic range of real instruments vs virtual instruments was also something I found to be incredibly useful.
The way I get used to what ever room/system I’m monitoring on is to listen to music I know well. I use headphones a lot, and they are a little hyped in the lows, so I listen to other people’s mixes so I can get used to the sound of the headphones. Then I just make my mixes sound like that, as far as balance is concerned.
Yes indeed. I always test my mix though the home and car stereo to check the listeners perspective. Old style these days maybe but I learned it from a colleague who has been recording for years. Thanks Warren...
Best info as always
Hi Darlene Sheffield thanks ever so much!
Long form content about this type of stuff is well needed. And this guy provides. Thank you sir 🙏🙏
Thanks ever so much!!! That’s kind of you to say, I do my best!
Absolutely super episode with crazy essential advice at a level I can understand as a layman thank you so much!!! Love this channel wow 🏆
Thanks ever so much
I appreciate this video because it makes me feel not so conscientious about my less than ideal listening/mixing environment.
this answered so many questions for me as someone who relies on electronic samples, thank you 🔥🔥
Two Key you’re very welcome my friend! That means a lot! I really wanted to answer everyone’s questions to the best of my ability and I know there is a lot of confusing information out there!
Thanks so much for all the great advice and tips. After 20 years of recording and mixing, mostly myself, My mixes and tracking have been flat. Now, they translate to different rooms, headphones, speakers WAY better. I am 70 and learning every day. The cool part is I have a great New mini studio and it is really great. Cheers! And keep up the good work.
If you don't have 45 minutes to listen to the whole thing, just skip to 36:52 for a synopsis. "Oon jeh oon jeh, like zer zan zoon zah and a oom om om."
Haha thanks ever so much Sam!
hands down - best part
Another great episode!
I love how you remind the audience, that our function isn't supposed to be perfect. You said it well: "Wrongness is fantastic!"
Imperfections are often the character we seek, within reason.
Very informative and genuinely realistic approach!
Thanks ever so much Jeremy! I really appreciate it!
thanks! this is a really nice help for me, for recording and mixing my own songs, and off course my bass.
Thanks ever so much Gaby!
Thanks so much! Ive been in & out of studios as singer, songwriter, guitarist all my life, and now working in the box for myself, your tips are invaluable. I loved hanging with producers & engineers whilst they were doing their thing, but obviously couldn't be picking their brains continuously....
I’ve just moved my studio to my second floor. At the moment, there are no acoustic treatment in the studio. The room is built with natural untreatned wood. The acoustic ain’t bad, but I have problems with the bass flowing in the room. So I’m using my Beyerdynamic DT990 pro and my DT770 pro to help me with the references.
I'm so happy you mentioned the car..that's my "audition " room sometimes I thought I'd have a good mix then when I take it to the car it's more Muddy than the outside of my car....
How is it some of the Beatles early stuff had drums and/or bass on one side, yet still sounded great. And why didn't that create a problem for the mastering engineer?
Hi Neal Fox thanks for the wonderful question! As we were talking about in the video the low end on those albums didn’t go anywhere near as low as you can go now! Modern albums go so low now!
@@Producelikeapro Thanks. And yet, they still sounded great. I remember recording my first album in 1971. Really wanted to emulate the Beatles. Took me years in the studio to understand what they were doing (with George Martin, of course.) Don't know who mastered my early stuff, but the first time I heard it on a jukebox sandwiched between to hits, what a disappointment. Mine was so low in volume. And it was mastered by pros.
Took another few years to find out why.
Thanks for your channel. Really great!
Glad to finally see a sound engineer promoting headphones. If you do that as an amateur in the comment section, you usually get a lot of flak for it. But there is a reason why Sony's MDR-7506 have been Hollywood's #1 headphones for everything from sound engineering to monitoring on set for years, if not decades, now. They are also _my_ go-to solution for primary mixing. I occasionally cross-check with my speakers, and I refine the result over weeks listening to my current mix in the car on my way to work and back, which also gives me the distance I need to be able to judge the mix. Of course my mixes are not brilliant, but they sure are _good._
Also: using spectrum analyzers? Oh boy, there is a _lot_ of dissing going on about these. Me, I love'em. For exactly the reason that you name: what I can't _hear,_ I'll have to _see._ But there are plenty of mixing channels out there who will call that mixing for noobs.
I really thank the Lord Jesus Christ for this channel. You have so many students you never met. Thanks again for these tutorials
You can just call him, "Warren."
@@churchoicemorighteous1506 Oh lord :-D
It’s a good thing to give thanks to The Lord! Thank the Lord for his mercy and his blessings, music being one of Many
And I thank you for the best response I've seen!
Amen !
I really don't know if I'm getting better at mixes with your videos Warren, but I'm having the time of my life trying to get there. Learning all the time is so much fun when it is about something you love and with audio it seems like it is a never ending source of knowledge, because just when you think you know it all, there's more and more. Watching your videos is an amazing and fun experience and it is just like sharing your knowledge with someone who is as passionate as you, more like getting geek on a wonderful topic, as always THANK YOU VERY MUCH SIR!!!
"The Lowlows" might be a good band name. :-)
Great video.
Hi casimsalabim haha yes! Great name indeed!
Warren, finding your videos has re-activated my passion about mixing. After a decade of live mixing coming to a screeching halt, your content has helped me so much in as much at home and streaming work I can find. I wish I could afford the academy, perhaps when all of this is over. I just wanted to thank you personally for going so in-depth and not being afraid of the long form video. Cheers.
"You can't mix what you can't hear " 💯
Yes, indeed!
You DO know how to get a good bass sound in your room, so much that I am referencing a mix with one of your tutorials... and learning a lot!
Wow! Thanks ever so much! I’m glad to be able to help
The voice of David Attenborough. The face of Joe Pesci. Schnizel-ton?
Haha I look like Joe Pesci? Haha thanks
triangle a good starting point but the music lowest wave length worth taking into the algorithm. This is good advice
New word= “Shnizalton” @ 9:42
Haha yes, indeed!
Thank you for bringing this word to light!
Thanks to your free videos, the low end tricks; my overall mixes have massively improved, the kick drum and bass sound significantly better.
Honestly I just learned a “shnizzle ton”
Haha thanks ever so much! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
The best channel to learn without hype
Top Tip for Eq'ing on most Protools EQ plugs: hold CTRL SHIFT when clicking on the coloured dots on the EQ display. Cuts all levels around that band. Very handy to save your ears and your speakers. (was featured on a similar video).
I enjoy your style and info. You are experienced enough to be able to speak confidently about what one can expect when traveling down various sonic roads. You are clear and obviously still very passionate about what you do. I specifically like how you focus on the WHY which makes your demonstrations of the HOW so much more beneficial. I've been engineering for more than 20 years now and I continue to learn cool things from you everytime I watch. Keep up the great work! - Alex
If you can't afford acoustic treatment, or are working in a temporary space, bring in all the clothes you have, like the hamper if it's not solid, and open all the doors and windows. The clothes will absorb sound and the windows will prevent it from reflecting or resonating.
If you wanna know what bass traps do for your room, stand by an open window and talk out of it. Then stand in front of a wall and talk in front of it. The difference in what you hear is what absorption does.
If you want proper treatment, you'll want at least 15% coverage with 4" rigid or 1'-thick fluffy panels. Make sure to cover your first reflection points first to create a Reflection Free Zone. Look up 'the mirror trick' for acoustics. Ideally, you'll go further with up to 8" rigid or 2-3' fluffy covering a greater percentage of your large surfaces. You're aiming for < +-10dB SPL deviation and 20dB of decay within 150ms above 63Hz at your listening position.
These are not commandments, just decent guidelines that I've followed myself.
Getting a good subwoofer allowed me to save money and space on the monitors (amazing sounding 4" Genelecs). To balance the volume of the sub relative to the monitors is tricky, as you have to carefully adjust the cutoff frequency of the sub and "play" with the modes (and moods) of your room. I used reference mixes and turned up the sub volume so it's just noticeable in the sweet spot. You still have to compensate for the modes (resulting in boosted frequencies with a desceptively longer decay/resonating rumble that's your room, not the music). Knowing your room means knowing which frequencies aren't reproduced flat by your speakers in the room and knowing to compensate for it in your mind. Another good tip for untreated rooms is to get to know the location of peaks and voids its modes produce at the lower frequencies. That way, you can walk around and average them out in your mind.