Stop listening to people who have been to college on some marketing courses. Get to know your DAW Listen to lots of music Know what you want to make And put I bit of you in your music.
And cry after you try to lay bass under low pads for three weeks but get wet fart noises all the time... You need at least basic knowledge to make music YOU WANT to make. It's not necessarily full on education, but you need knowledge nonetheless.
@@oldensad5541 I come from a time before they were heeps of RUclips uploads showing people and I picked up little bits from hanging with other musicians and lots of trial and error but in that time of making many mistakes, I also found out many things and all from just doing. That been said it because I enjoy doing it and I'm very interested in music but I wouldn't have the same approach if I wanted to try brain surgery.
4. I learned this arrangement formula with Berklee Online: Lead, Groove, Wildcard. At any moment, you mostly want those three things clearly defined. Your lead is usually a singer or soloist, your groove is your drums and bass and wildcard is the unique featured supporting instrument. Listen to your favorite records through this prism and ask yourself how you can apply it to your arrangements and mixing.
@@ghfjfghjasdfasdf What genre does this not work on? I’ve made everything from Country to Complextro. The focus and roles may shift quickly but I can all but guarantee that this still applies. By all means, though, provide examples.
@@bloknumfazm I appreciate your sentiment but why not use both halves of our brain? If you feel but don’t think, you’re more like an animal than a human. The ability to think may be a double-edged sword, but it’s a sword nonetheless. Sure, the better you get the less you need to think. However, to just jump into feeling without guidance is a great way to get lost.
Reverb throws are also great for making everything work together because you have more control than just a reverb send or bus. If you high pass the send it will sound much cleaner and help your bass come out. Even just low shelfing it is also okay
great tips. However some genres its almost essential to clip. You dont want to clip while recording, but clipping as a creative effect or to increase loudness during mix and master stage is great. As far as Lufs, if you are making modern pop (ariana grande, olivia rodrigo, doja cat etc) or any edm subgenre, even -9 is not enough. No joke, many of these tracks are clocking in at -4 to -6. You can keep things dynamic by clipping in the mix. Clip individual elements, busses, sub mixes, the master. Shave 1-2db in stages and you will have loud songs
Clipping: You're right, I think you 2 are talking about 2 different things. He's talking about unintentional +digital+ clipping and you're talking about intentionally using a soft/hard clipper (which is emulating +analog+ clipping). LUFS: I don't think even a fairly-skilled bedroom mixer is gonna be able to hit -4 or -6 with ANY of the clarity (of tone or transients) that a pro mixer in a pro studio can get. For 90% of people it's just an unrealistic bar. And sure you CAN hit it.. but you're prolly doing more harm than good by doing so. Acquaint yourself with your limits. (Personally, I know that when I hit around -7, I'm probably f'ing something up...even if I don't initially hear it.) And, unless you're music is playing live.. there's a 90% chance it's being normalized anyway. Almost nobody turns that feature off on their DSP of choice. But.. these are just my thoughts. What do I know...
@@nilespeshay1734 While I agree squeezing in the extra LUFS doesn't matter incredibly unless its live, I'm going have to disagree respectfully; -5 LUFS is not hard at all to hit cleanly if you're intentional with your mix, -4 and even -3.5ish is not *that* much harder
Thank you so much for taking a holistic approach to this advice! Music production is so much more than just making beats. It's theory, sound design, mixing, arrangement, and so much more!
Side chain is underrated imagine I never use it on kick and 808 I’ll use it on reverb and delay for vocals or I’ll side chain the bass in pianos or guitars to keep the fundamental frequencies of those instruments without having them compete with an 808
Hey Mattie! Awesome stuff! Just a correction if I may: soundchaining ISN'T making one sound quieter when other plays - this is merely an effect of sidechaining, but sidechaining can be used in reverse as well (making one sound louder when other plays). What you described is called "ducking" (the sound "ducks" under when another plays). Sidechaining is simply making one track/plugin "listen" to what another track (or plugin on another track, depending on what your DAW is capable of) is doing. Nevertheless, once again, awesome stuff.
@@OhitsShiftzIt’s especially important for low sounds. Basically, when you combine two sounds, you’re actually combining two patterns. For example, when you interlock your fingers, you’re marrying opposite patterns. However, for bass sounds that would create a cancellation. Therefore, the lower the sounds, the more important it is that the amplitude polarity is same-same aka in-phase aka “squiggles are moving in the same direction”. Higher frequency sounds also benefit from timing experimentation but that will be more of a timbre preference rather than outright nulling.
Simply put, mess with phase invert on your individual tracks. Check your mix in mono to make sure things aren’t disappearing with the new phase alignment Try stuff. Sometimes something sounds better than the original
@@OhitsShiftz The closer the +attacks+ of your layered sounds are to starting at EXACTLY the same time.. the better you are. (Transients.) There's wiggle room, ofc, but the farther off you are... the higher the likelihood of (phase) cancellation. The addition of your second sound will make the first sound quieter/thinner. If it makes any sense... it's the difference between "2 + 2 = 4" and "2 + -1 = 1"
SUBSCRIBED … really concise and helpful video … impressed with your common sense approach and time you have put into the content … looking forward to following and learning with you!! … thank you!!
“All of the top studios are hiring session instrumentalists, hiring people to play the drums” is VERY genre dependent. If you’re making rock, sure. If you work in Hip Hop or electronic genres, not so much
disagree with live instruments always sounding better. if you are better with live instruments that’s totally valid. BUT some of the coolest sounding music has been made with only programming. basically you don’t need to record live instruments if you can get a better result with programming
What do you think about the approach with all controllers at zero and then slowly ramping up to a white noise until everything harmonizes? I always found that extremely wired because my ears get tired of listening to the noise
Bonus tip: In logic instead of saving a mix 1, mix 2 etc as projects taking up space you can save it under "project alternatives". (don't know if you can do it in other daws)
@@Dave1507 Can only speak for Logic but what it does is save what's new in your project while still keeping the old alternative.. instead of duplicating the entire project taking up just as much space as the 1st one. So if you have a 2Gb project and add 300Mb of audio files in the new alternative you'll use 2,3Gb instead of 4,3Gb
@@sebsmithhklie ah yes, that makes sense, and depending on which alternative you load up it fuses the original with the addidtions of that alternative. I rememeber this from my IT days, we called it incrimental backup, where it uses a similar process.
*One* reason why LUFS aren't accurate is its bias: Extreme highs (and lows) are overvalued. Grab a few dB of 2k, and then 16k. 2 will likely rip your head off, and 16, air & a bit of edge. Our perception of loudness is complicated and just a part of our human experience. Best prod/mix/master engineers know how to get something louder at the same LUFS, whether integrated, or a sub-snapshot. Describing that knowledge is hard, but IYKYK.
I've been watching RUclips tutorials everyday for the last 6 years. I've made a lot of progress but still nowhere near where you're at. This is a great informative video.
great tutorial buddy, and if i can add something to the LUFS part, the standards now have shifted to -9 lufs ... and the streaming platorms are the reason behind this loudness war
Hi there, 1. What is a good recording sound (your tip 1)? If you have a good guitar, amp (or modelers like helix floor), you play good your recording, and do not record hot (don’t clip).. is that a good sound? 2. Would you use same reverbs on guitars and drums? What about if let’s say your acoustic guitar is haunting and you need a hall/cave reverb? Or you need an ambient guitar sound? Or would you create specific busses for specific instruments? Wouldn’t that cost also CPU power? Or would it be better to put reverb on a group (e..g acoustic guitar), rather than a bis specifically for acoustic guitar reverbs? P.S. In loved what you said “putting glitter on a piece of 💩 “
a good recording sound : without unwanted artefacts, a performance that you are proud of, and overall you can already listen to it and enjoying it before further processing. the best sounds i recorded barely needed any mixing
None of the "right up here" links are there. You made a video on this or that subject, & a link to that video is "right up here." Except, no, it isn't.
i don't agree with clipping for metal palm mutes and a lot of metal guitar, the DI can slightly clip and it you hit the strings harder, it's acctually better
But it's definitely something. It's especially enough to help guide some of the people with less hours put in. The fact that all of this information is in one place also really helps beginners get the larger picture.
Another cool trick for the Reverb Bus is this one: if you set it up, also create a Sidechain and link your track both Busses and call it DRYchain. Also Sidechain your Snare to the Kick, mostly used in Drum & Bass, to give both sounds a lot more headroom. Seen Memes on this: *Final_really_FINAL_FINAL_OK_FINALLLLY_FINALVERSION_NOT_YET_FINISHED_FINAL_SONG.wav**
Stop listening to people who have been to college on some marketing courses.
Get to know your DAW
Listen to lots of music
Know what you want to make
And put I bit of you in your music.
And cry after you try to lay bass under low pads for three weeks but get wet fart noises all the time...
You need at least basic knowledge to make music YOU WANT to make. It's not necessarily full on education, but you need knowledge nonetheless.
@@oldensad5541 I come from a time before they were heeps of RUclips uploads showing people and I picked up little bits from hanging with other musicians and lots of trial and error but in that time of making many mistakes, I also found out many things and all from just doing.
That been said it because I enjoy doing it and I'm very interested in music but I wouldn't have the same approach if I wanted to try brain surgery.
@@oldensad5541exactly
@@oldensad5541Learn music theory.
4. I learned this arrangement formula with Berklee Online: Lead, Groove, Wildcard. At any moment, you mostly want those three things clearly defined. Your lead is usually a singer or soloist, your groove is your drums and bass and wildcard is the unique featured supporting instrument. Listen to your favorite records through this prism and ask yourself how you can apply it to your arrangements and mixing.
That only works for a handful of genres.
@@ghfjfghjasdfasdf What genre does this not work on? I’ve made everything from Country to Complextro. The focus and roles may shift quickly but I can all but guarantee that this still applies. By all means, though, provide examples.
Stop formulating. Start feeling.
@@bloknumfazm I appreciate your sentiment but why not use both halves of our brain? If you feel but don’t think, you’re more like an animal than a human. The ability to think may be a double-edged sword, but it’s a sword nonetheless. Sure, the better you get the less you need to think. However, to just jump into feeling without guidance is a great way to get lost.
@@Hexspa agree with u... a lot of times people are just overcomplicating ideas...
Reverb throws are also great for making everything work together because you have more control than just a reverb send or bus. If you high pass the send it will sound much cleaner and help your bass come out. Even just low shelfing it is also okay
great tips. However some genres its almost essential to clip. You dont want to clip while recording, but clipping as a creative effect or to increase loudness during mix and master stage is great. As far as Lufs, if you are making modern pop (ariana grande, olivia rodrigo, doja cat etc) or any edm subgenre, even -9 is not enough. No joke, many of these tracks are clocking in at -4 to -6. You can keep things dynamic by clipping in the mix. Clip individual elements, busses, sub mixes, the master. Shave 1-2db in stages and you will have loud songs
Clipping: You're right, I think you 2 are talking about 2 different things. He's talking about unintentional +digital+ clipping and you're talking about intentionally using a soft/hard clipper (which is emulating +analog+ clipping).
LUFS: I don't think even a fairly-skilled bedroom mixer is gonna be able to hit -4 or -6 with ANY of the clarity (of tone or transients) that a pro mixer in a pro studio can get. For 90% of people it's just an unrealistic bar. And sure you CAN hit it.. but you're prolly doing more harm than good by doing so. Acquaint yourself with your limits. (Personally, I know that when I hit around -7, I'm probably f'ing something up...even if I don't initially hear it.) And, unless you're music is playing live.. there's a 90% chance it's being normalized anyway. Almost nobody turns that feature off on their DSP of choice.
But.. these are just my thoughts. What do I know...
@@nilespeshay1734 While I agree squeezing in the extra LUFS doesn't matter incredibly unless its live, I'm going have to disagree respectfully; -5 LUFS is not hard at all to hit cleanly if you're intentional with your mix, -4 and even -3.5ish is not *that* much harder
@@camrenblue If what you're saying is true, then there is very little need for professional mixers.
Thank you so much for taking a holistic approach to this advice! Music production is so much more than just making beats. It's theory, sound design, mixing, arrangement, and so much more!
Side chain is underrated imagine I never use it on kick and 808 I’ll use it on reverb and delay for vocals or I’ll side chain the bass in pianos or guitars to keep the fundamental frequencies of those instruments without having them compete with an 808
I'm the inverse- I pretty much always sidechain the kick/bass guitar/synth bass. I need to start using sidechaining with reverb. Any small tips?
Hey Mattie! Awesome stuff!
Just a correction if I may: soundchaining ISN'T making one sound quieter when other plays - this is merely an effect of sidechaining, but sidechaining can be used in reverse as well (making one sound louder when other plays). What you described is called "ducking" (the sound "ducks" under when another plays). Sidechaining is simply making one track/plugin "listen" to what another track (or plugin on another track, depending on what your DAW is capable of) is doing.
Nevertheless, once again, awesome stuff.
This is 'the nutshell'!
Can't wait to see your channel blow up bro :D
First tutorial where there is literally no music in the background my god I enjoy this.
...don't forget to "align" when you're layering. Phase/polarity can impact your sounds in a big way....Thx for your vids!!!
Could you give an example of this? Or maybe a video related to it, I’ve heard about this before but want a good understanding of my own
@@OhitsShiftzIt’s especially important for low sounds. Basically, when you combine two sounds, you’re actually combining two patterns. For example, when you interlock your fingers, you’re marrying opposite patterns. However, for bass sounds that would create a cancellation. Therefore, the lower the sounds, the more important it is that the amplitude polarity is same-same aka in-phase aka “squiggles are moving in the same direction”. Higher frequency sounds also benefit from timing experimentation but that will be more of a timbre preference rather than outright nulling.
Simply put, mess with phase invert on your individual tracks.
Check your mix in mono to make sure things aren’t disappearing with the new phase alignment
Try stuff. Sometimes something sounds better than the original
@@OhitsShiftz The closer the +attacks+ of your layered sounds are to starting at EXACTLY the same time.. the better you are. (Transients.) There's wiggle room, ofc, but the farther off you are... the higher the likelihood of (phase) cancellation. The addition of your second sound will make the first sound quieter/thinner.
If it makes any sense... it's the difference between "2 + 2 = 4" and "2 + -1 = 1"
@@nilespeshay1734 thank you!!! 😊
14:06 OMG THAT'S GENIUS. How did I not think of that? Not being able to move the fader is so irritating
Thank you! This not only helped me discover new things, but also review what I already knew. New sub 🙌🏼
I learned so much in this Video, Thank you ;)
This video is too good man! thank you so much
Awesome, thank you!
Very useful videos, thanks a lot ! Your videos are on par with much more famous music production you tube channels !
Brilliant video bro, great advice just earned a new supporter 💯
Absolute gold! Love this! But please.... 4K!
I like this guy
SUBSCRIBED … really concise and helpful video … impressed with your common sense approach and time you have put into the content … looking forward to following and learning with you!! … thank you!!
I use the LUFS metering in pro-L 2 🙌
this videos sums it all up! Great work
thanks for this video. I have my notifications turned on for your contents
Thanks for this compact guide, God bless you! I subbed :D
“All of the top studios are hiring session instrumentalists, hiring people to play the drums” is VERY genre dependent. If you’re making rock, sure. If you work in Hip Hop or electronic genres, not so much
This was so helpful!!!
Love it! Thanks!!
4:23 *70s rock band. KISS is from the 70s.
disagree with live instruments always sounding better. if you are better with live instruments that’s totally valid. BUT some of the coolest sounding music has been made with only programming. basically you don’t need to record live instruments if you can get a better result with programming
Very helpful man, tysm!🤍
staring at rice is not cooking rice - Taoist proverb
Great video concept ❤
What do you think about the approach with all controllers at zero and then slowly ramping up to a white noise until everything harmonizes? I always found that extremely wired because my ears get tired of listening to the noise
I appreciate man💯🙏
Thank you.
Note to self, automate gain not volume, so you can still change the fader later
great tips!
Bonus tip: In logic instead of saving a mix 1, mix 2 etc as projects taking up space you can save it under "project alternatives". (don't know if you can do it in other daws)
Fl has the backup for that. Don't know about using no space though. Because what's being saved if it doesn't use up any space?
@@Dave1507 Can only speak for Logic but what it does is save what's new in your project while still keeping the old alternative.. instead of duplicating the entire project taking up just as much space as the 1st one.
So if you have a 2Gb project and add 300Mb of audio files in the new alternative you'll use 2,3Gb instead of 4,3Gb
@@sebsmithhklie ah yes, that makes sense, and depending on which alternative you load up it fuses the original with the addidtions of that alternative. I rememeber this from my IT days, we called it incrimental backup, where it uses a similar process.
*One* reason why LUFS aren't accurate is its bias: Extreme highs (and lows) are overvalued. Grab a few dB of 2k, and then 16k. 2 will likely rip your head off, and 16, air & a bit of edge. Our perception of loudness is complicated and just a part of our human experience. Best prod/mix/master engineers know how to get something louder at the same LUFS, whether integrated, or a sub-snapshot. Describing that knowledge is hard, but IYKYK.
Talk about using SSD drums, please
What a video 🔥
thanks fam
I've been watching RUclips tutorials everyday for the last 6 years. I've made a lot of progress but still nowhere near where you're at. This is a great informative video.
Dope keep up!
great tutorial buddy, and if i can add something to the LUFS part, the standards now have shifted to -9 lufs ... and the streaming platorms are the reason behind this loudness war
no, -10 to -8 lufs was the cd era loudness standard
All this sauce and for free? Im subing🔥
Hi there,
1. What is a good recording sound (your tip 1)? If you have a good guitar, amp (or modelers like helix floor), you play good your recording, and do not record hot (don’t clip).. is that a good sound?
2. Would you use same reverbs on guitars and drums? What about if let’s say your acoustic guitar is haunting and you need a hall/cave reverb? Or you need an ambient guitar sound? Or would you create specific busses for specific instruments? Wouldn’t that cost also CPU power? Or would it be better to put reverb on a group (e..g acoustic guitar), rather than a bis specifically for acoustic guitar reverbs?
P.S. In loved what you said “putting glitter on a piece of 💩 “
a good recording sound : without unwanted artefacts, a performance that you are proud of, and overall you can already listen to it and enjoying it before further processing.
the best sounds i recorded barely needed any mixing
GOD TIER ADVIE THAT WILL CHANGE YOUR LIFE: MIXING IS WHEN YOU GET GOOD SOUND INTO GOOD SHAPE
HPF often... clip + limit/compress... less is more
S U P E R
content!
thanks a lot!
None of the "right up here" links are there. You made a video on this or that subject, & a link to that video is "right up here." Except, no, it isn't.
i don't agree with clipping for metal palm mutes and a lot of metal guitar, the DI can slightly clip and it you hit the strings harder, it's acctually better
How do I process my recording of a wet fart for my bass but retain the energy?
What i learned is:
There are NO rules!
only ways to get where you want to be
I haven't received the link of the free lesson
A useful video! Thanks! Am I a 10,000 subscriber? Or did someone subscribe at the same time with me and the counter went over 10,000?
KISS used to mean keep it short and simple, but I guess people are getting more stupid by the day, so I understand why that changed...
500h is actually not that much, lol
But it's definitely something. It's especially enough to help guide some of the people with less hours put in. The fact that all of this information is in one place also really helps beginners get the larger picture.
In 27 minutes? It absolutely is.
even in 1 hour it would be huge
🤓☝️
U look like the average redditor
It’s unfortunate that it sounds a little bit like your selling crypto because there is some real gold in here!
Last advice, don't watch RUclips tutorials. 😂
Another cool trick for the Reverb Bus is this one: if you set it up, also create a Sidechain and link your track both Busses and call it DRYchain.
Also Sidechain your Snare to the Kick, mostly used in Drum & Bass, to give both sounds a lot more headroom.
Seen Memes on this: *Final_really_FINAL_FINAL_OK_FINALLLLY_FINALVERSION_NOT_YET_FINISHED_FINAL_SONG.wav**