Outstanding interview, Scheps is so generous with his sharing of knowledge. Thanks for making this available. Someone referred to Scheps as being like that great high school teacher you had who changed your life and who you'll never forget. He's quickly becoming that, to me, with all these great interviews.
I love listening to Andrew and agree 100% with his techniques of not soloing each track to make it sound good. One thing that cracks me up is around 34:30 because current technology can split up a mix into stems.
I wonder which converter Andrew uses. I love this guy's work for the longest time. In fact I don't have much time to watch almost anything these days but I always come back to his videos and his records.
How can Puremix have less than 100k subscribers and a channel with a guy who puts up a dog with its lips synced to a Madonna record have over a million lol. The mind boggles. Great video. Schepps is always good to listen to.
kICK & BASS . I pick 2 frequencies (can vary depend the arrangement)...shelf at 50hz and a bell at 100hz. We have subs and actual bass right there. In a ballad the bass should be the one driving the subs and kick doing rhythm thing. Same for reggae. Now , on a funky style ...we can leave the subs to the kick and drive the song with bass on the upper section. Rock its the same thing. I have found that whenever I hear that really punchy sound on a drum kit ...thats because its hitting around 100hz ...thats around where the thump of a kick leaves. The trick is maintain the kick out of the bass frequencies according to the song. Just make this question whenever you gonna mix the low end...."Ok...whos gonna drive the rhythm on the low end " Obviously if its very active and arppegiated arrangement for the bass(meaning going up and down scales) that should stay on the bass area and not the subs. But if its an steady simple pattern and the kick is more agitated then would be the opposite. That will make you have a clear idea of who's supposed to be in the subs and bass section of the spectrum. But hey, thats just me...Ppl can make of their mixes whatever they feel like.
great video, thanks. one advice: in order to respect your viewers and listeners, please put your phone in silent mode before you start streaming next time and ask your guests to do the same. thanks one more time.
What a fantastic interview and what a great and humble guy! But... Can you please either write the subtitles (or simply turn them) of instead of having them generated. I'm not a native English speaker, but at least now I know, that there are different "dogs" (DAWs), whereas I'm still wondering whether I should use "dentist ends" (NS10s) in my studio... :D
Thank you so much for taking time to answer these questions. Where can I download the EQ3 and LoFi plugin Andrew mentioned around 36:30ish. He said they are free?
I think Josh is even more precise with his FX and parts than John was. Maybe because clearly in the beginning his mechanical skill with the instrument was as great as John, he developed a great sense of what the song needs in terms of guitar parts and how to deliver it in a creative way
Great stuff! One thing though, I believe Andrew underestimates the importance for his hearing that he used to mix on great sounding consoles+gear. He now KNOWS what is good and the level he wants to achieve, that many starting straight in the box have to learn, and there are so many pitfalls on the digital realm if you don't have the proper build up, hearing-wise. "if it sounds good it is good", sure, but it takes time and lots of practice to learn what actually sounds good, and even how to listen properly.
I use TC and lexicon hardware, I haven't worked out how to use plugins live yet...it is funny how old companies are always slow to transition to the new era and their market share plummets, and the new guard storms in and takes over...Valhalla is the chief now
I disagree on the 48k thing, if you'll have to convert it back to 44.1 at the end. Of course it sounds better while you are working, but the freq points are not floating like the bits. With a good machine, I would work at 88.2 instead. At least 1 dot out of 2 will stay in its place at the conversion.
right, ive thought that same thing, but i think the reason is the more information, definition, and fidelity you have when your mixing , you will have a better image, and can make more informed decisions, which, though yes its still going back to cd quality, those more informed mix and sound decisions you made while in the 48khz will still translate in the end!
Everything he says is gold. What an honest, open and good guy. Great interview, thanks for posting.
thanks for the kind words
What I love about Scheps is his pure pragmatism when it comes to his craft. He cuts through the BS like no other.
True. "Pragmatist" is a word I positively attach to him, too:)
Exactly! I see him as a rational optimist!
The Scheps template video is one of the best things @puremix has done! This guy is the man.
Outstanding interview, Scheps is so generous with his sharing of knowledge. Thanks for making this available. Someone referred to Scheps as being like that great high school teacher you had who changed your life and who you'll never forget. He's quickly becoming that, to me, with all these great interviews.
Well said!
Thanks a lot for the work you've been doing. I learn a lot with all your videos and Andrew is a great teacher!
I don't use the car to reference anymore either. "I mix where I mix", and THAT'S IT!!! LOVE ANDREW AND HIS BRILLIANCE.
I love listening to Andrew and agree 100% with his techniques of not soloing each track to make it sound good. One thing that cracks me up is around 34:30 because current technology can split up a mix into stems.
Wow! So many nuggets in this interview. Thank you Puremix and Andrew Scheps. So much appreciated :)
Thanks puremix & Andrew. Lovely content.
ONE OF THE BEST VIDS ON THE NET...THANKS
"All that matters is what comes out of the speakers!" It's all about the feel. Thanks for sharing the knowledge, Andrew is Legend. =)
Thank you Andrew for answering my question about mixes translating on PA systems
Great questions, brilliant answers!
Excellent questions. Excellent responses.
I wonder which converter Andrew uses. I love this guy's work for the longest time. In fact I don't have much time to watch almost anything these days but I always come back to his videos and his records.
Great q&a! Thanks !!
Literally the 33609 is secretly (or not) on some GREAT mixing busses.
Time to check it out.
Great talk.
The interview was asom andrew you are the best, very strait far word, witch every bady can anderstand, have learnt a lot keep up the good work andrew
Thank you. Great talk.
Great, great video!
God bless Scheps
Andrew "I wouldn't advocate for it, but this is what I do" Scheps is the Dumbledore of mixing audio
How can Puremix have less than 100k subscribers and a channel with a guy who puts up a dog with its lips synced to a Madonna record have over a million lol. The mind boggles. Great video. Schepps is always good to listen to.
Do you have link to said dog????
@@petristorres8647 Hahaha
kICK & BASS . I pick 2 frequencies (can vary depend the arrangement)...shelf at 50hz and a bell at 100hz. We have subs and actual bass right there. In a ballad the bass should be the one driving the subs and kick doing rhythm thing. Same for reggae. Now , on a funky style ...we can leave the subs to the kick and drive the song with bass on the upper section. Rock its the same thing. I have found that whenever I hear that really punchy sound on a drum kit ...thats because its hitting around 100hz ...thats around where the thump of a kick leaves. The trick is maintain the kick out of the bass frequencies according to the song. Just make this question whenever you gonna mix the low end...."Ok...whos gonna drive the rhythm on the low end " Obviously if its very active and arppegiated arrangement for the bass(meaning going up and down scales) that should stay on the bass area and not the subs. But if its an steady simple pattern and the kick is more agitated then would be the opposite. That will make you have a clear idea of who's supposed to be in the subs and bass section of the spectrum. But hey, thats just me...Ppl can make of their mixes whatever they feel like.
great guy music legend
great video, thanks. one advice: in order to respect your viewers and listeners, please put your phone in silent mode before you start streaming next time and ask your guests to do the same. thanks one more time.
I love this guy, man. He's such a cool cucumber.
WOW - really cool idea about stereo widening past L-C-R at 1:10:01
What a fantastic interview and what a great and humble guy! But... Can you please either write the subtitles (or simply turn them) of instead of having them generated. I'm not a native English speaker, but at least now I know, that there are different "dogs" (DAWs), whereas I'm still wondering whether I should use "dentist ends" (NS10s) in my studio... :D
34:09 🔥
Even his mic overdrives lol
More pureMix magic...✨ty
Magic everyday 🧙
Wow! This is a great video!! Thanks.
Thank you so much for taking time to answer these questions. Where can I download the EQ3 and LoFi plugin Andrew mentioned around 36:30ish. He said they are free?
Ryan Maker the are in protools
I think Josh is even more precise with his FX and parts than John was. Maybe because clearly in the beginning his mechanical skill with the instrument was as great as John, he developed a great sense of what the song needs in terms of guitar parts and how to deliver it in a creative way
Great stuff! One thing though, I believe Andrew underestimates the importance for his hearing that he used to mix on great sounding consoles+gear. He now KNOWS what is good and the level he wants to achieve, that many starting straight in the box have to learn, and there are so many pitfalls on the digital realm if you don't have the proper build up, hearing-wise. "if it sounds good it is good", sure, but it takes time and lots of practice to learn what actually sounds good, and even how to listen properly.
Sounds like someone who bought a lot of analogue gear and wants to justify it lmao
@@longjohnsonshagwell3377 Hahaha
Valhalla Plate is fucking awesome indeed, I use it for longer reverb stuff and the free Ambience for ambience lol
I use TC and lexicon hardware, I haven't worked out how to use plugins live yet...it is funny how old companies are always slow to transition to the new era and their market share plummets, and the new guard storms in and takes over...Valhalla is the chief now
1:25:13
What was the book in the beginning he recommended, the video freezed for me?!
metal music manual
THanks
I think I had those curtains in my house growing up in the '70s.
They use them in hotels nowadays. 😂
I wonder which daw controller Andrew prefer nowadays? I know he's used alphatrack...
thx very much for your answer
I disagree on the 48k thing, if you'll have to convert it back to 44.1 at the end.
Of course it sounds better while you are working, but the freq points are not floating like the bits.
With a good machine, I would work at 88.2 instead. At least 1 dot out of 2 will stay in its place at the conversion.
right, ive thought that same thing, but i think the reason is the more information, definition, and fidelity you have when your mixing , you will have a better image, and can make more informed decisions, which, though yes its still going back to cd quality, those more informed mix and sound decisions you made while in the 48khz will still translate in the end!
Made a video showing how to make any mono compressor work as a unlinked stereo pair:)
ruclips.net/video/coMJguzkx-o/видео.html
Hello children...
This guy has stolen Dave Pensados Voice
Host needs to stay off adderall. Not working for him.