Well, I try to use the stock plugins and send guitars, verbs, delays, BVs, to the side channel. There is a lot of stuff that I want to "hug" the main vocal with snare kick and, bass sometimes (I found that the low end is super front)
I usually used waves F6 with a dynamic EQ on the Bass sidechained from the kick. The good thing about F6 is that you have very tight control on attack + release plus you can actually see what your doing on the threshold, it's very very nice, I feel much better than fabfilter Q3 for instance. Generally I find getting good bass tones more difficult than getting a nice low end on the kick. Maybe I am compressing to hard, or having trouble with the 2way split method on the bass guitar (usually I only have DI signal). When I have luxury of recording my own bass guitar I prefer using a real amp (Fender rumble) to dial in a tone, somehow having the Amp in the room makes it easier to hear and capture.
I usually high pass that region that occupy by determining which instrument is going to perform certain duties and then cut certain not so pleasant frequencies with a medium cue EQ. I think I stole that concept from a man name Warren 🤔😂.... Yeah I did 😅
That's the deepest dive about mixing LOW END! These 34 mins can teach you a lot. Upcoming mixing engineers get ready with your notebook. Thanks Joe! Thanks Warren!
Joe is becoming my fav engineer. The way he transfer his knoledge and experience is just amazing and on the point to help you understand nit just what but when and why to make the move. Thank you, Joe
Wavesfactory Spectre is my go to for the trick Joe does with 1178, without the compression obviously. Select you band, Q and harmonic distortion type and sweep around till you find the sweet spot...
Hey Joe, 🎶 where you going with that mix in your hands ?🎶🎶🎶 Joe, you are one of the most fun mix engineers to watch and learn from and I’ve listened to and I’ve watched tons of them over the years. The way you explain everything it’s so easy to absorb information. Thank you for your contributions to the mixing community and profession… 🙏🏾
Have seen lots of the videos from Joe Carrell lately and all that has been said and done is so clear and good advice.....learnt lots and thank you for lot of new inspiration!
Beautifully detailed explanation. The why is so much more important than the what and this really well illustrates the reasoning behind the methodology
Thanks Joe, some great insights here! Great vid and I have to say it's great to see good level matching when bypassing so we can really hear the subtle differences well. Nice! 🙏
For those curious if that’s all that’s being done with soothe, you can use a dynamic Eq like the free Nova EQ set it to external trigger and then link your kick. There’s no reason to spend $200 for soothe if that’s the call to action. You could also use Kickstart 2 from Nicky Romero, shaperbox from cable guys, or one of my favorites for compression sidechain the Bx_Opto from pluginalliance. You can get all of these for less than the price of soothe 2 so consider your options. Nonetheless great video from Joe really liked the sounds from that Pulsar 78 👀🤔
Hi Joe, great to see someone using SSL Link. I'm a convert and think it's a brilliant workflow enhancement. I'm running the 360 app on a dedicated touch screen monitor. Direct hands on interaction that mimics a hardware console workflow.
@@InTheMixJoeCarrell as much as the SSL controllers look useful they don't beat having direct hands on control of the knobs and faders. I don't think SSL intentionally created 360 with touch screen monitors in mind (obviously, they made it as an overlay to use with the controllers) but the 360 app works brilliantly on a touch screen. If you add link to every track with your SSL 9000j plugin you've effectively got an SSL console over multiple tracks right under your fingers
That was super interesting. Thanks for taking the time to go through these great bass mixing options. It's definitely not an easy instrument to record and mix. This was helpful.
I almost always use UAD dbx 160, Waves R-Bass, and Waves L1 on bass. I like my bass to be ultra squashed, and I find the Dbx plus the L1 to put a brickwall on it accomplishes that. The R-Bass is perhaps my favorite plugin ever. It's just magical and makes the bass cut through the mix without adding any low end. Sometimes I'll also do the "Andy Wallace bass trick" and add some chorus on an aux to widen the bass and give it a little movement. Depends on how prominent I want the bass to be in the mix. For kick drum, I use the Scheps Omni Channel 2. There's a new resonant booster function where if you have the hi pass set to 24db per octave, it boosts the resonance just above the hi pass. There is also a saturation knob and a thump button. I then add some click using the EQ section and compress the hell out of it using the FET compressor option. My entire kick drum sound comes from that one plugin.
I don't do anything professional. I just mix my own music. I play every instrument so it's getting interesting to say the least. I didn't know I could do what I been doing with just a Guitar, Tube amp, and a PC!!!! Sometimes keys.... I use midi Drums and a real bass and sometimes a midi bass guitar. Part of it is doing what he is doing. I have a lot of different ways I like to make things work. Some Channels have 4 or 5 different plugins turned off so I can test each one to see which works best. I use a main template with everything already there then I just remove the plugins that are deactivated once I find what I like.
Peakbuster from Voxengo is worth checking out. Personally, I'm still a fan of tubes so when I get the dough I plan to get a (tube) Ampeg Portaflex head which can even be run direct without needing to also plug into a speaker cabinet. As for other tools, the VT bass DI from Tech 21 is great as is the Oxford pedal from Joyo and Brutus! from Caline for even more overdrive and distortion. Both engaged on that last pedal are hella litty. 🔥 Finally, the bass bump from bouncing to real tape can create fab results.
Hi, we had a chat 11 months ago, about Jon Anderson, not releasing some of his new songs due to issues with record labels because of his age (his words) You said that you knew of some labels, who would sign such an artist. I wondered if you had heard the new album JA has done with The Band Geeks? I would highly recommend it, I was, very surprised with just how good it is. The production is quality, done by Richie Castellano (bass player with TB Geeks) and Jon Anderson. Also, I had wondered if the Frontiers Music, record company, that the album came out on, was among the labels that you had recommended?
My caveat is I'm not currently mixing and producing music but live mixing Church services for streaming. I'm mixing within Studio One 6 pro as both mix and master steps, although on the fly, because it's live. I feed Studio One a master aux stereo mix from the main mixer. Without an addition to the low end, it's just missing for this audio feed. High boost to an EQ isn't going to work. So, I use a bus channel to add the SSL SubGen to enhance low frequencies. SubGen goes through SSL X-Saturator and Vintage Drive, X-DynEQ, and finally UAD Distressor with Distortion 3 enabled. I'll mix that in as needed.
@@chris_share interesting you bring that up. I have filmed a look at my Reverb and delayed template for guitars and keys. It hasn’t been edited yet, but I would expect it to come out within the next month or so. Thanks for watching and following along!
an other great tipp is: but a Sidecain HPF on your compressor. First it sounds kinda counterintuitive, but the idea behind this is, that low notes have more energy then higher notes, which will lead to, that the compresser will react like crazy on the lower notes and push them in the background. this will end up in a realy uneven bass. so the trick is, let the compressor react to the attack of the bass performance with a Sidecain HPF. this works better with bass guitar then synth bass, because the synths have different kind of harmonics to react to.
HI Joe, thanks so much for the amazing video. Can I ask why you roll off a bass guitar at 50Hz when the lowest fundamental frequency of a 4-string bass (with E as the lowest note) is 41Hz? I know that it's rolled off, as opposed to cut off, but as someone who is now reaching into the intermediate level as a mix engineer, this move is intriguing. Understanding WHY these types of moves work will help me to move to the next level with my mixes.
Good morning Tim. It’s not a hard knee digital “chop”, but instead an analog style “roll off” that seems to tighten up the entire low end picture with the kick whom is always having energy in those lower two octaves. What this will do is reduce the low end leftover that will always still be in that lowest octave and a half of the electric bass (although it’s un useful and unwanted) without effecting the punch of every kick hit and before its “energy suck” hits the stereo buss headroom. You could do yours at 40 and use a steeper digital filter if you feel that any change to low E is happening with your tools. Best wishes!
I am a big fan of keep stuff simple. i noticed that if i would do more stuff and more complicated methods, it will get kinda soulless. So everything i need is a good harmonic structure, Eq to clean up, Distressor, EQ to boost. even this is kinda the basesetup, it works everytime, it is super tight, but still groovy, even if i slam an additional Limiter on there.
@@stevenrayphoto1280 I have a few guys that I work with real commonly and have developed a great relationship with. Alan Silverman and Alex Psaroudakis in NYC and John Mayfield here in Nashville.
Pulsar 1178 is so good. I got it because I was gonna buy the Stam hardware and I was so happy with it I decided not to buy the hardware. Doesn't happen often.
I tend to get a good balance between instruments in the low end but I have trouble getting the overall amount of low end correct. Like either too much or too little. I rarely hit it just right. I can say here lately I’ve been having better luck but it’s still a toss up. I’m hoping to get something valuable from this video.
This kinda "problem" can be a sign, that you dont know your listening environment well enough. this can also be a symptom for acustic problems in your room. next time you work on a mix, try a few very good references, and compare the lowend of those songs to yours.
@@kristianmarschewski1590 references is what helps me get close. It’s funny guy say that about knowing my listening environment. We just bought this house and property 3 years ago and I haven’t mixed quite as much here as I have in my previous space. I do have some room treatment up but very minimal. Poor man’s setup. I mean I did just buy a house outright cash and then the economy has been solid tanking ever since so buying new gear has been on the back burner. My next move will be some diy rock wool panels. I have some pretty cool ideas I think to make them look rad too without effecting their performance.
@@smeemusic If you get more room treatment, consider to messure your room as well, of you can improve your setup, by just move the speaker and your desk around. you have to find the best possible position. once this is done, then it is just a matter of training, and getting used to how it sounds.
@@kristianmarschewski1590 yeah I spent 2 solid weeks chasing the spot in the room. My wife wasn’t too thrilled right at first as it’s sort of out in the room a bit. To get to our bedroom you gotta walk through my mixing space so it’s a little in the way. I did take measurements and put an X on the floor. But I found more nulls in that position than what I ended up with. But to be clear what I ended up with is only like 13 inches off my original X. I think there’s just some oddities in the room that my math couldn’t account for. I’m getting there tho. It’s a slow grind but steady nonetheless.
@@smeemusic I hope so too! Best wishes. In a side note, the listening environment of your control room could be a culprit if the low end seems out of whack in other environments. Proper treatment can be expensive for sure but if you find that to be the case, you could also use a pair of trusted headphones, just for low end reference. I occasionally do that when traveling.
Whoa easy Tiger, I'm confused 😂 I've just aquired an SSL UC1, UF1 and UF8 but still learning how to use it. I notice Joe has got "SSL 360" as an insert. Don't you put the SSL Channel Strip on the track insert not the 360 software? Off topic sorry so just ignore me.
No problem at all. If you want to use a plug-in from waves, universal audio, plug-in alliance, etc.. you can use 360 link and get hands-on control using the UC1! It’s super cool. You just tell it which plug-in you want the link insert to control
@InTheMixJoeCarrell Ah right thank you. OK that makes sense. I've only had the controllers a few days but I can't wait to use them once I've got my head around it. Cheers Joe.
@@johngiovanni I absolutely occasionally throw some chorus on a base if it’s “fitting”. Nowhere near in every song kind of thing but definitely a fun effect when appropriate
Steve Abini did not advocate filtering out frequencies above 20kHz (even up to 80kHz) as they contribute to the overall natural sound of music. He proved we actually hear these as they are harmonically stacked with lower frequencies.
That’s not my theory, but that’s also absolutely fine. While it’s song and genre dependent, I personally use LPF very often. I very often don’t like the “scratchiness” of the top octave of an electric guitar for example. So I want to clear that from areas that I do want the high-end to shine Like vocals, overheads, and Acoustic Guitar , etc., Then other times I will chop highs from even those elements to create a mood. Not every song I work on should have shine. Sometimes they are dark and moody. Some of us work across a very diverse genre list. So we can each have our own ideas and approaches and nobody has to be right or wrong. That is part of the beauty of art.
Wouldn’t that be more apples to oranges on preference? I mean, I really admire Steve’s theory, but it seems you want to have balance between the kick and the bass. whatever frequencies those land on is where you help the balance whether it’s boost or cut.
@@Lowerhaightstreet Not using LPF should not interfere with any boosts or cuts in shaping sound including the relationship between kick and bass. The point is to keep sound "natural" as it's original recorded in nature by the artist. Muting ultra high frequency changes the way we hear lower frequencies. It's a fact in application, not just a theory. Removing all LPFs will open up your mix, if there are high frequency issues you should be using normal EQ adjustments, not LPFs.
@@peakAV I think my point was that I don’t want to open up the high frequencies of the mix on a bass guitar. Very often what’s left over up there is noise. I want the high frequencies of the mix to be focused on vocals, acoustic guitars, drums, pianos, etc. On bass guitars or electric guitars that have harsh harmonics in the upper octave for example…I want to cut that stuff out. Of course everyone is free to mix however they feel is right. But the video is sharing my approach to low end.
@@Lowerhaightstreet you are absolutely correct. What’s going on at 20 or 40khz isn’t going to alter your decision to cut 300 cycles on the kick drum. I understand the theory and do not disagree with it. But I also know the noise that’s left over on a bass guitar or some electric guitars in that top octave is not something that I want in my mix. It’s really that simple for me and why I choose to work like I do. Of course there are other instruments that are supposed to sparkle and have air and I do not use the LPF on those sources. Best wishes ✌🏼✌🏼
I can't believe the amount of tracks. And so many in stereo. I thought you don't want too many stereo tracks fighting over each other. The low end would be helped just by less pads and less stereo tracks LOL
@@RyanSommer the low end has been removed from the synth pads so they don’t fight with the bass. I personally use hi pass filters on virtually everything except kick and bass. It may be set to 70 and then again it may be set to 700 depending on that instruments role. That’s part of nailing the low end for me. The number of tracks that are stereo versus mono though is not a low end issue for me.
@@InTheMixJoeCarrell Thanks for doing these and for the reply Joe! I only just started bouncing pad/key stuff (I use EZ Keys) to mono. When staring at the virtual channel in Luna it was hard to remember they all default to stereo. I guess it's more "mix translation" that I'm hearing...not so much low end cleaning...
@@RyanSommer I rarely would make stereo pianos and pads mono. I want that width and wrap around the vocal. If it messes with the low end it would be an eq thing for me not a mono versus stereo decision. Then again I may be misunderstanding your question
Do you have any 'secret' tips for mixing low end? Please let us know below! You all rock!
Audix D6 for the Bassdrum
Well, I try to use the stock plugins and send guitars, verbs, delays, BVs, to the side channel. There is a lot of stuff that I want to "hug" the main vocal with snare kick and, bass sometimes (I found that the low end is super front)
I usually used waves F6 with a dynamic EQ on the Bass sidechained from the kick. The good thing about F6 is that you have very tight control on attack + release plus you can actually see what your doing on the threshold, it's very very nice, I feel much better than fabfilter Q3 for instance. Generally I find getting good bass tones more difficult than getting a nice low end on the kick. Maybe I am compressing to hard, or having trouble with the 2way split method on the bass guitar (usually I only have DI signal).
When I have luxury of recording my own bass guitar I prefer using a real amp (Fender rumble) to dial in a tone, somehow having the Amp in the room makes it easier to hear and capture.
I usually high pass that region that occupy by determining which instrument is going to perform certain duties and then cut certain not so pleasant frequencies with a medium cue EQ. I think I stole that concept from a man name Warren 🤔😂.... Yeah I did 😅
Simple high pass it - who needs low end! 😅
One of the best mix lessons ever.
Awesome!
Glad you enjoyed it!!
🤣🤣🤣loved the dry joke at the beginning 🤣👌
😂😂😂
@@InTheMixJoeCarrell I really loved the demonstration Joe, thanks for your time sir. Fantastic low end demonstration, I learned a lot.
@@dave_d_i_a_l wonderful 👊🏼✌🏼✌🏼
Haha genius!
@@InTheMixJoeCarrell funny guy! Ha
The part about getting the low end to move in sync was great. The vibe of this mix is a lot like Ordinary World by Duran Duran and I love it.
Thank you John!
That's the deepest dive about mixing LOW END!
These 34 mins can teach you a lot. Upcoming mixing engineers get ready with your notebook.
Thanks Joe! Thanks Warren!
Glad you liked it! Thank you for watching ✌🏼✌🏼✌🏼
You've earned a sub today at the very least!
@@unlockedplucky209 awesome 👊🏼
Tell me about it: Go Low With Joe!
That's great to hear!
Joe is becoming my fav engineer. The way he transfer his knoledge and experience is just amazing and on the point to help you understand nit just what but when and why to make the move.
Thank you, Joe
Thank you!
I love Carrell!!!!
he is just amazing, he explains everything so detailed and interesting ....
Thank you very much!!
Me too! Joe Rules!!
That joke in the beginning is what really set the tone. 😂😂😂😂😂
Hahaha. Thank you for watching!
Excellent!
@@InTheMixJoeCarrell you rock!
Wavesfactory Spectre is my go to for the trick Joe does with 1178, without the compression obviously. Select you band, Q and harmonic distortion type and sweep around till you find the sweet spot...
Man, I just love Joe so much. His lessons never fail to make me happy and teach me something new :)
Thank you Tony! Glad they are working for you
Hey Joe, 🎶 where you going with that mix in your hands ?🎶🎶🎶
Joe, you are one of the most fun mix engineers to watch and learn from and I’ve listened to and I’ve watched tons of them over the years. The way you explain everything it’s so easy to absorb information.
Thank you for your contributions to the mixing community and profession… 🙏🏾
Thank you so much! More to come 🎉
Have seen lots of the videos from Joe Carrell lately and all that has been said and done is so clear and good advice.....learnt lots and thank you for lot of new inspiration!
Great to hear! Best wishes
Always get excited when I see something from Joe. Great content as always
Thank you Michael!
Joe rules!!
@@InTheMixJoeCarrell You Rock!
Joe- thanks for taking time to make these videos. You're a great teacher!
Thank you! Glad they are helping
Great Video, I love the way you explain things, it`s simple and right to the point and I already had some EUREKA moment watching your video !
Great! Glad to hear it. Best wishes 🎉
Happy you love doing this stuff Joe! Because I absolutely love watching it; some of the best content on the internet for me personally
Thank you very much!
Beautifully detailed explanation. The why is so much more important than the what and this really well illustrates the reasoning behind the methodology
Glad you enjoyed it!
I wish the Kamala ads had a skip button. Those ads are ruining what is a fantastic video! Good job sir!
Hahaha. Thank you for waiting it out!
So good!!
Thanks ever so much!
Thank you!!
Thanks so much for doing this. Lots of great ideas that I tried and guess what, they work!
Best wishes Kevin!
Great tips on mixing low end which always gives me trouble. Thank you Joe and Warren!
Our pleasure! Happy to help! Joe Rules!
You’re very welcome!
Very thorough explanation, appreciated the layering of compressors and their own individual flavour they added to every step of the mix
Glad you enjoyed it Joseph!
very informative
Glad you enjoyed it!
Being a bass player this is pure gold to me thanks Warren and Joe
Perfect! Best wishes Paul
Amazing low end Video Joe and Warren
Thanks ever so much!
Glad you enjoyed it Tim!
Such amazing value in this teaching session!
Thank you so much for these really valuable teaching moments!
You’re very welcome!!
thanks for this! Just fantastic, Joe!
You’re welcome Scott!
Thanks Joe, some great insights here! Great vid and I have to say it's great to see good level matching when bypassing so we can really hear the subtle differences well. Nice! 🙏
Thank you Chris!
That was really helpful and easy to understand. Thank you!
Thanks ever so much!
You’re welcome!
Great video Joe! Soothe2 is a great sidechain for the bass!
Thank you Chris!
For those curious if that’s all that’s being done with soothe, you can use a dynamic Eq like the free Nova EQ set it to external trigger and then link your kick. There’s no reason to spend $200 for soothe if that’s the call to action. You could also use Kickstart 2 from Nicky Romero, shaperbox from cable guys, or one of my favorites for compression sidechain the Bx_Opto from pluginalliance.
You can get all of these for less than the price of soothe 2 so consider your options.
Nonetheless great video from Joe really liked the sounds from that Pulsar 78 👀🤔
Excellent video, really appreciate someone making the point that every song is different.
Absolutely!
Fantastic tips from Joe. He is always incredibly helpful and inspiring.
Thank you for watching!
Hi Joe, great to see someone using SSL Link. I'm a convert and think it's a brilliant workflow enhancement. I'm running the 360 app on a dedicated touch screen monitor. Direct hands on interaction that mimics a hardware console workflow.
Yes I love it! Anything to use less of a mouse is a win
@@InTheMixJoeCarrell as much as the SSL controllers look useful they don't beat having direct hands on control of the knobs and faders. I don't think SSL intentionally created 360 with touch screen monitors in mind (obviously, they made it as an overlay to use with the controllers) but the 360 app works brilliantly on a touch screen. If you add link to every track with your SSL 9000j plugin you've effectively got an SSL console over multiple tracks right under your fingers
Great video as always Joe. Your the man at teaching. Even if I already know things here and there. You make it so much better. Thanks.
@@azoteapost8734 thank you for watching!
That was super interesting. Thanks for taking the time to go through these great bass mixing options. It's definitely not an easy instrument to record and mix. This was helpful.
You’re very welcome!
Thanks great tips
The notes on the bass stay more present in the mix with the blue strip 1176. This is wonderful education thank you Joe!
Thank you for watching!
I almost always use UAD dbx 160, Waves R-Bass, and Waves L1 on bass. I like my bass to be ultra squashed, and I find the Dbx plus the L1 to put a brickwall on it accomplishes that. The R-Bass is perhaps my favorite plugin ever. It's just magical and makes the bass cut through the mix without adding any low end.
Sometimes I'll also do the "Andy Wallace bass trick" and add some chorus on an aux to widen the bass and give it a little movement. Depends on how prominent I want the bass to be in the mix.
For kick drum, I use the Scheps Omni Channel 2. There's a new resonant booster function where if you have the hi pass set to 24db per octave, it boosts the resonance just above the hi pass. There is also a saturation knob and a thump button. I then add some click using the EQ section and compress the hell out of it using the FET compressor option. My entire kick drum sound comes from that one plugin.
Sounds kinda like Ordinary World,, Duran Duran. Really gorgeous arangement! Great tips!
Glad you enjoyed it!
A great teacher! Thank you a lot!!!
You’re welcome!
Great tutorial …big thanks !!!
Glad it was helpful! Joe Rules!!
You’re very welcome! Thank you for watching.
Joe, you’d be a blast to work with! Funny easy going & a talented engineer/producer. Thanks for your great videos.
Agreed 100%! Joe is the best!!
You’re very welcome!
Great advice! Great video!
Thank you for watching!!
Great info and well explained, thank you!
Thanks for getting my brain flowing with ideas! Great video!
Best wishes Bryan!
Great video! I really like this kind on content. Thank you for sharing.
Glad to help Charlie!
This was great - thanks Joe!
Thanks ever so much! Joe Rules!!
You’re very welcome Daniel
Excellent and immediately useful. Thanks!
You’re very welcome!
man, I love your education work. Gracias!
You’re welcome! Best wishes.
Super helpful! Thanks!
You’re welcome!
This is actually really good advice!
Marvellous! Thanks ever so much
Joe Rules!
Thank you for watching!
Shadowhills Comp is awesome, I love channels 9/10 when mastering!!
I do love that plug-in!
Hey Joe, thanks for this, very cool video!
You’re very welcome!
Thanks Joe, thanks Warren 🙏
You’re welcome!
WE ❤️ YOU JOE
Joe Rules!!
Thank you Shawn!
cool video! thanks for sharing
You are welcome!
I don't do anything professional. I just mix my own music. I play every instrument so it's getting interesting to say the least. I didn't know I could do what I been doing with just a Guitar, Tube amp, and a PC!!!! Sometimes keys.... I use midi Drums and a real bass and sometimes a midi bass guitar. Part of it is doing what he is doing. I have a lot of different ways I like to make things work. Some Channels have 4 or 5 different plugins turned off so I can test each one to see which works best. I use a main template with everything already there then I just remove the plugins that are deactivated once I find what I like.
Best wishes James
Ooooh! my fav subject! 🙂
My secret is mix into saturation/distortion. If it sounds good when ducked up, it sounds great with a little bit of it.
Peakbuster from Voxengo is worth checking out. Personally, I'm still a fan of tubes so when I get the dough I plan to get a (tube) Ampeg Portaflex head which can even be run direct without needing to also plug into a speaker cabinet. As for other tools, the VT bass DI from Tech 21 is great as is the Oxford pedal from Joyo and Brutus! from Caline for even more overdrive and distortion. Both engaged on that last pedal are hella litty. 🔥 Finally, the bass bump from bouncing to real tape can create fab results.
Well done! II’m always learning from you, Joe! You Rock!
@@shestudiossheila7423 back at you Sheila!
Great Lesson
Thank you Joe!
Hi, we had a chat 11 months ago, about Jon Anderson, not releasing some of his new songs due to issues with record labels because of his age (his words)
You said that you knew of some labels, who would sign such an artist.
I wondered if you had heard the new album JA has done with The Band Geeks? I would highly recommend it, I was, very surprised with just how good it is. The production is quality, done by Richie Castellano (bass player with TB Geeks) and Jon Anderson.
Also, I had wondered if the Frontiers Music, record company, that the album came out on, was among the labels that you had recommended?
Yes! Great album! Really enjoyed it
No, I am unfamiliar with that label. But glad he found and outlet! I’ll try to check that out. Have a great weekend 🎉
A lot to experiment with here. Really awesome, thanks!
@@alextotheroh8071 you’re welcome Alex!
Excellent and a very sympatico presentation :)
Glad you enjoyed it 🎉
great stuff!
Thanks ever so much!
Joe Rules!
@@Producelikeapro he's not the only ruler around here ;)
That is a great way to use Soothe.
Yes! It certainly is
Thank you for watching!
Man, I couldn’t help but hear the old “real men of genius” beer commercial song whenever you would solo the drums and bass. So funny…
I don't know what that is! I'll look it up! Haha
Hahahaha
@@InTheMixJoeCarrell guessing you know what it is! Ha
I did too lol
Great Video !!
Thank you!
Always great Thank you Joe
You’re welcome!
Excellent video!
Thank you very much!
@@janwilkendorf thank you!
Amazing lesson...thanks a million :)
You bet Jesse! Thank you for watching
My caveat is I'm not currently mixing and producing music but live mixing Church services for streaming. I'm mixing within Studio One 6 pro as both mix and master steps, although on the fly, because it's live. I feed Studio One a master aux stereo mix from the main mixer.
Without an addition to the low end, it's just missing for this audio feed. High boost to an EQ isn't going to work. So, I use a bus channel to add the SSL SubGen to enhance low frequencies. SubGen goes through SSL X-Saturator and Vintage Drive, X-DynEQ, and finally UAD Distressor with Distortion 3 enabled. I'll mix that in as needed.
Really good video
Marvellous!
Thank you!
Thanks Joe! Nice spatial FX on this track - any chance you could do a tutorial about them? Cheers!
@@chris_share interesting you bring that up. I have filmed a look at my Reverb and delayed template for guitars and keys. It hasn’t been edited yet, but I would expect it to come out within the next month or so. Thanks for watching and following along!
You should have a low end series with Joe Carrell called: Low With Joe
Ha!! Thanks for watching🎉
Or Better yet : Go Low With Joe!
I would call him gentle Joe.
Thank you ❤
You’re welcome!
That dad joke... *chef's kiss*
Hahahaha 🎉🎉
Joe knows tight bottom ends!
😂😂😂
an other great tipp is: but a Sidecain HPF on your compressor. First it sounds kinda counterintuitive, but the idea behind this is, that low notes have more energy then higher notes, which will lead to, that the compresser will react like crazy on the lower notes and push them in the background. this will end up in a realy uneven bass. so the trick is, let the compressor react to the attack of the bass performance with a Sidecain HPF. this works better with bass guitar then synth bass, because the synths have different kind of harmonics to react to.
Wow new Coldplay song 🎉
HI Joe, thanks so much for the amazing video. Can I ask why you roll off a bass guitar at 50Hz when the lowest fundamental frequency of a 4-string bass (with E as the lowest note) is 41Hz? I know that it's rolled off, as opposed to cut off, but as someone who is now reaching into the intermediate level as a mix engineer, this move is intriguing. Understanding WHY these types of moves work will help me to move to the next level with my mixes.
Good morning Tim. It’s not a hard knee digital “chop”, but instead an analog style “roll off” that seems to tighten up the entire low end picture with the kick whom is always having energy in those lower two octaves. What this will do is reduce the low end leftover that will always still be in that lowest octave and a half of the electric bass (although it’s un useful and unwanted) without effecting the punch of every kick hit and before its “energy suck” hits the stereo buss headroom. You could do yours at 40 and use a steeper digital filter if you feel that any change to low E is happening with your tools. Best wishes!
I am a big fan of keep stuff simple. i noticed that if i would do more stuff and more complicated methods, it will get kinda soulless. So everything i need is a good harmonic structure, Eq to clean up, Distressor, EQ to boost. even this is kinda the basesetup, it works everytime, it is super tight, but still groovy, even if i slam an additional Limiter on there.
Ok thumbs up for the joke 😂 I wasn't expecting it and laughed out loud
Joe's a funny man!
@@eggplant000 hahaha. Thank you for watching ✌🏼✌🏼
Great video as always Joe! Who do you recommend or use for mastering?
@@stevenrayphoto1280 I have a few guys that I work with real commonly and have developed a great relationship with. Alan Silverman and Alex Psaroudakis in NYC and John Mayfield here in Nashville.
@@InTheMixJoeCarrell Thank you Joe!
@@stevenrayphoto1280 sure thing
Very Cool 👌
@@woodhousemusic7176 thank you for watching!!
Thank you
You’re welcome David!
Beautiful
@@Trubaster 🎉🎉
Hi Joe, when you say 150 'cycles' what is it you mean exactly? Do you mean you're working on the 150Hz area??
150hz
@@Producelikeapro Thank you.
Correct. HZ and cycles are the same
Pulsar 1178 is so good. I got it because I was gonna buy the Stam hardware and I was so happy with it I decided not to buy the hardware. Doesn't happen often.
@@1loveMusic2003 it sure is. I was a little late to that party as well. Glad I finally gave it a try.
I tend to get a good balance between instruments in the low end but I have trouble getting the overall amount of low end correct. Like either too much or too little. I rarely hit it just right. I can say here lately I’ve been having better luck but it’s still a toss up. I’m hoping to get something valuable from this video.
This kinda "problem" can be a sign, that you dont know your listening environment well enough. this can also be a symptom for acustic problems in your room. next time you work on a mix, try a few very good references, and compare the lowend of those songs to yours.
@@kristianmarschewski1590 references is what helps me get close. It’s funny guy say that about knowing my listening environment. We just bought this house and property 3 years ago and I haven’t mixed quite as much here as I have in my previous space. I do have some room treatment up but very minimal. Poor man’s setup. I mean I did just buy a house outright cash and then the economy has been solid tanking ever since so buying new gear has been on the back burner. My next move will be some diy rock wool panels. I have some pretty cool ideas I think to make them look rad too without effecting their performance.
@@smeemusic If you get more room treatment, consider to messure your room as well, of you can improve your setup, by just move the speaker and your desk around. you have to find the best possible position. once this is done, then it is just a matter of training, and getting used to how it sounds.
@@kristianmarschewski1590 yeah I spent 2 solid weeks chasing the spot in the room. My wife wasn’t too thrilled right at first as it’s sort of out in the room a bit. To get to our bedroom you gotta walk through my mixing space so it’s a little in the way. I did take measurements and put an X on the floor. But I found more nulls in that position than what I ended up with. But to be clear what I ended up with is only like 13 inches off my original X. I think there’s just some oddities in the room that my math couldn’t account for. I’m getting there tho. It’s a slow grind but steady nonetheless.
@@smeemusic I hope so too! Best wishes. In a side note, the listening environment of your control room could be a culprit if the low end seems out of whack in other environments. Proper treatment can be expensive for sure but if you find that to be the case, you could also use a pair of trusted headphones, just for low end reference. I occasionally do that when traveling.
Whoa easy Tiger, I'm confused 😂 I've just aquired an SSL UC1, UF1 and UF8 but still learning how to use it. I notice Joe has got "SSL 360" as an insert. Don't you put the SSL Channel Strip on the track insert not the 360 software? Off topic sorry so just ignore me.
No problem at all. If you want to use a plug-in from waves, universal audio, plug-in alliance, etc.. you can use 360 link and get hands-on control using the UC1! It’s super cool. You just tell it which plug-in you want the link insert to control
@InTheMixJoeCarrell Ah right thank you. OK that makes sense. I've only had the controllers a few days but I can't wait to use them once I've got my head around it. Cheers Joe.
@@GudlaugurMusic you will never want to be without the UC 1 again!!
Is it alright to use a chorus on a separate on the top bass frequencies 1,5k and above? I'm trying that on a mix but it seems to muddy things a bit.
@@johngiovanni I absolutely occasionally throw some chorus on a base if it’s “fitting”. Nowhere near in every song kind of thing but definitely a fun effect when appropriate
Man low end is always a nightmare
Hope this helps!
@@InTheMixJoeCarrell oh yes lots of new ideas! I love the ssl from brainworks too! Really nice video!
Steve Abini did not advocate filtering out frequencies above 20kHz (even up to 80kHz) as they contribute to the overall natural sound of music. He proved we actually hear these as they are harmonically stacked with lower frequencies.
That’s not my theory, but that’s also absolutely fine. While it’s song and genre dependent, I personally use LPF very often. I very often don’t like the “scratchiness” of the top octave of an electric guitar for example. So I want to clear that from areas that I do want the high-end to shine Like vocals, overheads, and Acoustic Guitar , etc., Then other times I will chop highs from even those elements to create a mood. Not every song I work on should have shine. Sometimes they are dark and moody. Some of us work across a very diverse genre list. So we can each have our own ideas and approaches and nobody has to be right or wrong. That is part of the beauty of art.
Wouldn’t that be more apples to oranges on preference? I mean, I really admire Steve’s theory, but it seems you want to have balance between the kick and the bass. whatever frequencies those land on is where you help the balance whether it’s boost or cut.
@@Lowerhaightstreet Not using LPF should not interfere with any boosts or cuts in shaping sound including the relationship between kick and bass. The point is to keep sound "natural" as it's original recorded in nature by the artist. Muting ultra high frequency changes the way we hear lower frequencies. It's a fact in application, not just a theory. Removing all LPFs will open up your mix, if there are high frequency issues you should be using normal EQ adjustments, not LPFs.
@@peakAV I think my point was that I don’t want to open up the high frequencies of the mix on a bass guitar. Very often what’s left over up there is noise. I want the high frequencies of the mix to be focused on vocals, acoustic guitars, drums, pianos, etc. On bass guitars or electric guitars that have harsh harmonics in the upper octave for example…I want to cut that stuff out. Of course everyone is free to mix however they feel is right. But the video is sharing my approach to low end.
@@Lowerhaightstreet you are absolutely correct. What’s going on at 20 or 40khz isn’t going to alter your decision to cut 300 cycles on the kick drum. I understand the theory and do not disagree with it. But I also know the noise that’s left over on a bass guitar or some electric guitars in that top octave is not something that I want in my mix. It’s really that simple for me and why I choose to work like I do. Of course there are other instruments that are supposed to sparkle and have air and I do not use the LPF on those sources. Best wishes ✌🏼✌🏼
I can't believe the amount of tracks. And so many in stereo. I thought you don't want too many stereo tracks fighting over each other. The low end would be helped just by less pads and less stereo tracks LOL
@@RyanSommer the low end has been removed from the synth pads so they don’t fight with the bass. I personally use hi pass filters on virtually everything except kick and bass. It may be set to 70 and then again it may be set to 700 depending on that instruments role. That’s part of nailing the low end for me. The number of tracks that are stereo versus mono though is not a low end issue for me.
@@InTheMixJoeCarrell Thanks for doing these and for the reply Joe! I only just started bouncing pad/key stuff (I use EZ Keys) to mono. When staring at the virtual channel in Luna it was hard to remember they all default to stereo. I guess it's more "mix translation" that I'm hearing...not so much low end cleaning...
@@RyanSommer I rarely would make stereo pianos and pads mono. I want that width and wrap around the vocal. If it messes with the low end it would be an eq thing for me not a mono versus stereo decision. Then again I may be misunderstanding your question
Now do Rock
We sure will !
😂❤
hahahaha yes!! get that food right and move that butt! #lowend LOL
@@echothenatives hahahaha