My experience in a super expensive studio was that our song there sounded as big a mount Everest. Gigantic. I was like “man, I never heard a song sounding this big”. What happened when I got home and checked my super song in my car, speakers, etc? I was like “meh, is not bad but definitely nothing special”. I want mixes that rock on airpods. That’s all.
Three Take-Aways: 1. NS10s will always be loved. 2. Analog gear is more fun to mix with but not required. 3. Don't fight the frequencies however tame or antagonize them when necessary.
For my job, I have to mix in all kinds of different environments on different equipment, and one of the things that’s really helped me is the Metric AB plug-in, where I can reference music quickly in real time across several different mixes. It allows me to quickly calibrate my ears to the situation and move on making confident decisions. Such great and freeing advice on your channel bud.
Great video, I listen to my beats ear buds for hours a day due to breaks at work and during working out. Between my treated room and those ear buds my mixes are sounding better than ever. Usually nail the first pass with a few small creative revisions afterwards. Knowing your reference source is absolutely key. I’m Using Audiomovers inject to reference on my Bluetooth ear buds. I can walk around the room and house and just passively listen for a bit and things will make themselves clear. Also started using less visual plugins and just use my ears. I crank dials then back them off until stuff fits. Don’t over think it
The attraction of analogue gear IMO is the workflow and efficiency, no worrying about decision paralysis, more tacticle, no having to look at meters. I studied on SSLs and since starting to work on digital the work speed has been night and day, not in the good way so thats what I think attracts people to hardware/analogue.
Solid, really good points! It really is so easy to get bogged down in this stuff and forget the very basics that matter most. You really distilled it into a very concise video! I'm always reminded that with 'normal' people who don't produce music, and don't care to, they NEVER, NEVER, NEVER say "wow, that's a really good mix!" about a song they love- it's just simply, "That's a really great SONG." You're so right, that no one will ever say that about a track that the 75 different EQ's were fiddled for months with- if the song itself isn't simply GREAT, well recorded, well performed.
While I'm only a life long hobbyist, I've always been pro-technology regarding music. Programs like QBase and Cakewalk bringing the studio into our homes in the 90's, MIDI tying and syncing things together in the 80's, synths setting it off and setting the stage in the 70's. Tech is awesome for music. There are only so many frequencies within our hearing range. Using tech to keep those frequencies sounding fresh and new is why I feel we don't run out of music. Multi-effects pedal units and modelers, solid state amps, all making more options available at more affordable prices. There's a reason these things exist and continue to evolve. And it's all really come a loooooooooooooong way since the 90's. Digital recording really started before the and took over in the 70's. (I want to say Sony started it in the very late 60's, but I could be off on that. 90% sure it was Sony but 50% on the date.) That's why it's so fun to hear the vinyl nerds talk about how records are more pure and organic, then you point out the sticker or blurb on the back that states that it was digitally recorded and mastered, leaving the elitists speechless. I'm not against vinyl by any means, and I do enjoy the way they sound, but it really is fun to pop that elitist bubble by pointing out their almighty organic record actually contains a digital recording. If they were really nerds, they would have read that part along with every other printed word on the dust cover, spine, jackets, and liner notes. Just sayin'. For me all of that literature and art is the only reason to get a vinyl record. Def not for it's static prone "superior" sound. Once again, I like that sound, but I wouldn't call it superior by any means. But that's just my $0.02 ;)
This may be the best bit of info out there. Thank you. Use what works, not what is the new fad. Most important thing you said was about where does a good song come from. I am working on a song now that the tracks were layed down horribly. I am having to time align all sorts of stuff and tune vocals and guitars and fix tones. It's a good song, but, even with the best efforts of someone that has been mixing for over 50 years, it will never be great because of the lack of detail when making the music. Sad but true. BTW, your voice sounds the best out of about 50 of these YT creators that claim to be Pro's. Nicely done.
OH MY, thank you for mentioning the Mix Cubes, I've been eyeballing those for a while. Right now I have the Kali LP6 speakers, and this may be strange but for now I put Low and HIgh pass filters on my mix bus to mix, and so far I dig the results.
I worked arround 16 Jears with smaller 2 Way Speakers in a not so good treated room. You can lern how your mix translates in a Car or on other speakers. Now I have a well treated Room and I found my big 3 Way Flush Mounted Speakers. Today I am happy with my mixes or masters 99% when I leave the studio and test them. I would say, if you compare the dollars you spend for a good treated room and vor a set of good speakers, you get more out of it than if you spend the money on other expensive stuf like microphones or analog compressors and stuff. Now am Working an other 9 years in my new Studio and as I sed, its worth it to have a well treated room and good speakers.
Yes,yes,and yes. I have delivered some of my best mixes in my house , because I know what it should sound like. And true I have been working on the same monitors for 14 years
Overall advice is solid. I’d say room response is important if you can control it because it’ll determine what you’re hearing. There are cheaper monitors that perform better but it’s generally whatever works best for whoever is mixing in the context of their space
Especially agree on the last part. A great recording / mix of a mediocre song is still a mediocre song, and an amateur recording of a great performance of a great song is still great.
I montor on a pair of Kali LP6s and a pair of little Edirol MA-15D's for comparison. My final judgement though is often done in my car. My room is far from perfect but it does have some treatment. It's new though and I'm still getting used to it. In my Cubase 12 Pro DAW, I have a starting template that I use for every song. It affords me familiarity. As for the digital vs analog debate. Just think about your audience. Will they know and will they care? In both cases, I doubt it.
ok, but what happens when the mix or song is processed so well, to the point it's way too perfect for the band to duplicate live on stage? in the reality of the real world music not supposed to be perfect ; there are flaws imbedded within the song.. but there comes a point in which the processing is too good, to the point in which the live band can't reproduce the same quality on stage unless they lip sink to a track ,& that's when the flaws are noticeable ; take the case of the over processed vocals. I know for a fact many singers can't really sing all that well ,so they rely on the voice correcting software to make them sound better than they really are.. with the advent of all those software programs live bands can't compete live with their own recorded songs. Meaning they are fighting themselves & losing to themselves. How else are bands going to make money? they have to play live & tour.. there's not much money in record CD sales.. at some point band members have to play live..
That’s on you for over-complicating the mixing part, as you did on drums for example. No one hears the processing and all the eq’s and saturation on the kick drum. You can achieve even better results with top-down mixing.
Room hack: books, books, lots of random books scattered randomly everywhere on random shelves. Also, an open clothing closet with random clothes.... Let the power of random be your friend... May not look Instagram tidy, but sure it works. The old adage about sausage manufacturing holds true... BTW, I Hate NS-10s!
No.7 is plain fact. You can't even hear the bass on And Justice for All and how many people enjoyed that album? When the song is good, you just need the mix to not be pure shit to sound good. It's the same way some bootleg live performance still can give you goosebumps.
While i appreciate that professional mixers favour a template but is this not mainly for speed/time/money? Whereas, i mix my own music and tend to approach each track differently. Am i missing something? Appreciate your content. Cheers!
Any chance of you doing a full mix reconstruction from scratch? Such as they do in Mix With the Masters for example. That would be W content. Would gladly pay to watch you mix for 2+ hours straight. My mixes improved unmeasurably since I started to follow your channel.
Isn't the other problem with high end monitors that most stuff sounds great? You're blown away how great your record will sound you go home, you put on your headphone and it... lacks a lot.
Myth, 11, Most pro’s mix and engineer their own stuff. Most musicians don’t. Spend time creating , “prepare” your music for mixing and engineering and then do what the pros do……let other pros do what they are good at.
As someone who learned to mix through years of working in a high-end studio, I disagree to quite a bit here. Yes, learning your monitors+room beats great monitoring. But learning great monitoring surely beats learning subpar monitoring. At the end of the day it comes down to budget, but I'd advise anyone starting out to highly prioritize their monitoring and room over anything else. Especially the bass & sub frequencies are incredibly difficult to get right in a poorly treated room. IMHO these ideas you put out that subpar monitoring and noisy environment would somehow be positives bc it forces you to make bigger moves are ludicrous. Learning which moves to make, big or small, is only helped by using great monitoring.
If you mix on small speakers as Jordan said you don't hear the sub frequencies. You could have problems with the low mids, in that case you should fix them. I don't have them either since I mix on my laptop speakers and Airpods (I know not the best quality but translate really well, I listened to a song of mine on a friends phone and in his car and sounded great)
Absolutely not. It doesn't matter the speakers (to a certain extent), it REALLY matters the room response, like incredibly. You buy a Trinnov ST2 PRO, calibrate the speakers on a REALLY WELL acoustically treated room, and then you'll notice what mixing is. You can even have a SUB, when it is calibrated, you'll address things that will free so much headroom so that mids and highs will benefit from. The rest comes with experience, but what you are saying is not how we should address the mixing problem
People might crucify me for my opinion, but I've been mixing on athm40x headphones for 10 years, and people are either shocked, or they just don't notice/care
Do yu have a sub? I never used a sub, but now I feel another level of satisfaction with music that was lacking...and those NS-10 are shy on bass.... I guess what are you saying, but now I feel the music in a different way, and that is crucial to me.... the movement of music is in another level just giving a tiny touch of subs
This video is so anti-everything propagandised... I love it! Know your Equipment! This is such an old trite phrase, but so true till today... And always remember this too: The music will tell you, what it wants, not your Gear and not the internet. THX. 6 6 6 ❌❌❌
Some good suggestions here but a bit exaggerated. Be careful with internet advises in general (including mine). You might be a person who's ears might need good monitors or more than a descent room while you actually need a lot less or more affordable options than what this individual is suggestion in other areas, plugins, other gear, etc... Just take the advice here with precaution.
Bet your mixes wouldn’t pass critique from a real engineer. I would also guess your mixes don’t sound great either . Arm chair engineers all think they have reinvented the wheel.
I have been an acoustic engineer for 15 years and you said a lot of rubbish in this video, I understood that your audience of subscribers is novice people without a penny in their pockets, but this way you spread misinformation
That closing bit was pure gold. The food analogies are simple but effective. It resonates because the current track I'm working on has strayed into more frustrating/tedious territory than fun. I reckon that's showing when I re-track bits I'm unhappy with. Getting way too clinical. Will aim to focus on the energy of the track today and see if that helps me stop being so pedantic. It would be nice to finish some time this side of Christmas 😂 Cheers mate
Agree for the most part, however, not having an accurate room is a recipe for disaster for most people. It was for me early on even though I knew my room well and had the same speakers for years. The room added an EQ curve that was completely counterproductive to attempt to work around. I had to reference on multiple systems just to overcome it and the final mixes in the mix room never sounded "right". I'm on studio #5 now and the last two have been acoustically accurate rooms. My mixes are much more effortless and translated everywhere pretty much immediately. Mix revisions are few which saves me time and money.
I was actually about to say what you've said here. Rooms can be incredibly problematic and counterproductive. I can only somewhat agree with him on that point. Headphones are always a go to for me because of exactly that. Even half of what he was saying about being lost in big studios using their far field Genelecs is not knowing the room.
Agree. Mine just made me obsess over bass levels because the slightest changes in position were causing things to disappear in the bass. Its more a case of needing to pass a threshold of quality like most equipment and subsequent upgrades pay off less and less the more you spend. I always think to ask- does the advice giver mean its fine not having a 5k mic or do they mean not have an 57 quality. I think most room qualities Miguel not pass the last threshold. Rooms are one of the most expensive and useful tools. Or else headphones, lowing ties limitations, graphs and simple brief speaker tests on a couple systems do me fine.
The only thing I disagree with is the "knowing your room" analogy. The room needs to be flat so you can take the thousands of rooms in the wild - out of the mix. In the old days, every control room was finely tuned to not influence any frequency. If there are problems in the room - it doesn't matter if you know what the problems are - you won't be able to unhear the problems - your brain will mix them back in. Probably one of the reasons that you have had success with mixing on the NS10Ms is that they are always close enough to your ears ( near field monitors ), to remove the actual room problems - And I do agree that knowing them helps as well. But in the 1980s, I could pretty much walk into any studio in the world and the reference would sound almost the same. The client speakers in the room were always different and as you said were extremely hard to mix with.
100%. Working around clear problems, like SBIR and other room nodes, is a recipe for disaster for most people. Having an (at least reasonably ) accurate room is pertinent IMHO.
Its less about flat spectrum to me, but more about how room resonances are NOT just an frequency graph. Ears do adapt to different distributions, although they do matter just try mixing with an equalised wastes bus and you get different results yes. A room with resonance is reactive. Small changes in position change the sound. It obscures detail. It makes a dynamic response when a certain instruments note matches that resonance. One channel may sound different to another across left and right or phase cancel sides too much. Make you take off all the verb because the room lacks definition. Not so much flat, you can use non flat monitors like n s 10 in a good room.
Seriously i don't understand ppl saying u need a perfect sound proof studio room floating above the ground with zillion dollar speakers pointed at the perfect angle when some guys going to be listening to it on their crappy laptop speakers😂
i've been very fortunate to be able to use nice outboard gear and mix on a neve console and ssl console, and yes it does sound amazing in the room but that's because it' being monitored through 30k monitors in a well treated room. Of course its going to sound amazing. As soon as you take one of throes sessions into a normal listening environment they sound just like any other mix. Stll miss thoes consoles but man can they be a pain in the arse sometimes.
Grab your free Mixing Cheatsheet to learn the go-to starting points for EQ and compression in heavy mixes: www.mixcheatsheet.com
nice. agree. thanks for that great video
My experience in a super expensive studio was that our song there sounded as big a mount Everest. Gigantic. I was like “man, I never heard a song sounding this big”. What happened when I got home and checked my super song in my car, speakers, etc? I was like “meh, is not bad but definitely nothing special”. I want mixes that rock on airpods. That’s all.
Three Take-Aways:
1. NS10s will always be loved.
2. Analog gear is more fun to mix with but not required.
3. Don't fight the frequencies however tame or antagonize them when necessary.
NS10s are trash
@@JA809_ if you can mix on ns10’s, you can mix on all.
@@JA809_ Kind of. But: If you get your mix to sound good on those, it likely sounds good almost everywhwere.
kind of , but i think we still have better options in budget..
I gotta say, this is quickly becoming one of my favorite mixing channels. The advice is so great! Kudos
For my job, I have to mix in all kinds of different environments on different equipment, and one of the things that’s really helped me is the Metric AB plug-in, where I can reference music quickly in real time across several different mixes. It allows me to quickly calibrate my ears to the situation and move on making confident decisions. Such great and freeing advice on your channel bud.
It's absolutely essential for me. It sounds lame to point to one single plugin as essential but it is.
@@Jazzguitar00 I know what you mean. I feel the same way.
As long as you don't obsess over the analyzer it works great!
@@alessandrosummer yeah, I don’t even use it
I love that mantra "Don't be a separator, be a mixer". Thankyou so much for < liberating > us! So much practical wisdom here and all your videos.
Yes!! This was incredible!
This is so important
Good advice! I use my studio monitors for all sounds coming from my computer, including my music collection. I've become quite attuned to their sound!
Great video, I listen to my beats ear buds for hours a day due to breaks at work and during working out. Between my treated room and those ear buds my mixes are sounding better than ever. Usually nail the first pass with a few small creative revisions afterwards. Knowing your reference source is absolutely key. I’m Using Audiomovers inject to reference on my Bluetooth ear buds. I can walk around the room and house and just passively listen for a bit and things will make themselves clear. Also started using less visual plugins and just use my ears. I crank dials then back them off until stuff fits. Don’t over think it
The attraction of analogue gear IMO is the workflow and efficiency, no worrying about decision paralysis, more tacticle, no having to look at meters.
I studied on SSLs and since starting to work on digital the work speed has been night and day, not in the good way so thats what I think attracts people to hardware/analogue.
Solid, really good points! It really is so easy to get bogged down in this stuff and forget the very basics that matter most. You really distilled it into a very concise video! I'm always reminded that with 'normal' people who don't produce music, and don't care to, they NEVER, NEVER, NEVER say "wow, that's a really good mix!" about a song they love- it's just simply, "That's a really great SONG." You're so right, that no one will ever say that about a track that the 75 different EQ's were fiddled for months with- if the song itself isn't simply GREAT, well recorded, well performed.
Really informative video, I needed to hear a lot of that. Thanks for the great content! 🤘
While I'm only a life long hobbyist, I've always been pro-technology regarding music. Programs like QBase and Cakewalk bringing the studio into our homes in the 90's, MIDI tying and syncing things together in the 80's, synths setting it off and setting the stage in the 70's. Tech is awesome for music. There are only so many frequencies within our hearing range. Using tech to keep those frequencies sounding fresh and new is why I feel we don't run out of music. Multi-effects pedal units and modelers, solid state amps, all making more options available at more affordable prices. There's a reason these things exist and continue to evolve. And it's all really come a loooooooooooooong way since the 90's.
Digital recording really started before the and took over in the 70's. (I want to say Sony started it in the very late 60's, but I could be off on that. 90% sure it was Sony but 50% on the date.) That's why it's so fun to hear the vinyl nerds talk about how records are more pure and organic, then you point out the sticker or blurb on the back that states that it was digitally recorded and mastered, leaving the elitists speechless. I'm not against vinyl by any means, and I do enjoy the way they sound, but it really is fun to pop that elitist bubble by pointing out their almighty organic record actually contains a digital recording. If they were really nerds, they would have read that part along with every other printed word on the dust cover, spine, jackets, and liner notes. Just sayin'. For me all of that literature and art is the only reason to get a vinyl record. Def not for it's static prone "superior" sound. Once again, I like that sound, but I wouldn't call it superior by any means. But that's just my $0.02 ;)
This may be the best bit of info out there. Thank you. Use what works, not what is the new fad. Most important thing you said was about where does a good song come from. I am working on a song now that the tracks were layed down horribly. I am having to time align all sorts of stuff and tune vocals and guitars and fix tones. It's a good song, but, even with the best efforts of someone that has been mixing for over 50 years, it will never be great because of the lack of detail when making the music. Sad but true. BTW, your voice sounds the best out of about 50 of these YT creators that claim to be Pro's. Nicely done.
The end of the video was probably a slap in the face for many. And thanks for including it!
OH MY, thank you for mentioning the Mix Cubes, I've been eyeballing those for a while.
Right now I have the Kali LP6 speakers, and this may be strange but for now I put Low and HIgh pass filters on my mix bus to mix, and so far I dig the results.
I worked arround 16 Jears with smaller 2 Way Speakers in a not so good treated room. You can lern how your mix translates in a Car or on other speakers. Now I have a well treated Room and I found my big 3 Way Flush Mounted Speakers. Today I am happy with my mixes or masters 99% when I leave the studio and test them. I would say, if you compare the dollars you spend for a good treated room and vor a set of good speakers, you get more out of it than if you spend the money on other expensive stuf like microphones or analog compressors and stuff. Now am Working an other 9 years in my new Studio and as I sed, its worth it to have a well treated room and good speakers.
Loved the video!!!
where did you buy those acoustic panels?
Love your mix cheat sheet. Quick question, wondering why there is not a keyboard EQ recommendation on the cheat sheet.
Yes,yes,and yes. I have delivered some of my best mixes in my house
, because I know what it should sound like. And true I have been working on the same monitors for 14 years
Overall advice is solid. I’d say room response is important if you can control it because it’ll determine what you’re hearing. There are cheaper monitors that perform better but it’s generally whatever works best for whoever is mixing in the context of their space
12:27 .. or a dawful of plugins (cool new word, like a handful - it's what you feel opening plugins > waves folder)
Great video, and very reassuring for someone working in their bedroom. I've used the link for the cheatsheet, but the download button doesn't work.
Really appreciate that last point 🙂
Very important to add a soundgooderizer at the start and end of every channel
Especially agree on the last part. A great recording / mix of a mediocre song is still a mediocre song, and an amateur recording of a great performance of a great song is still great.
Thank you for Mixing Cheatsheet too
totally agree btw love the silencer
This is the best video I’ve seen of yours. For the first time, I completely agree with every single word you said!
#5 ...maybe the best explanation of this myth I've heard..
Really like the last one too. Thanks man 🤟
I montor on a pair of Kali LP6s and a pair of little Edirol MA-15D's for comparison. My final judgement though is often done in my car. My room is far from perfect but it does have some treatment. It's new though and I'm still getting used to it. In my Cubase 12 Pro DAW, I have a starting template that I use for every song. It affords me familiarity. As for the digital vs analog debate. Just think about your audience. Will they know and will they care? In both cases, I doubt it.
Good tips, but can't agree on the room though. It helps tremendously if you're in a well treated room - both for recording, mixing and mastering.
Absolutely BRILLIANT !
ok, but what happens when the mix or song is processed so well, to the point it's way too perfect for the band to duplicate live on stage? in the reality of the real world music not supposed to be perfect ; there are flaws imbedded within the song.. but there comes a point in which the processing is too good, to the point in which the live band can't reproduce the same quality on stage unless they lip sink to a track ,& that's when the flaws are noticeable ; take the case of the over processed vocals. I know for a fact many singers can't really sing all that well ,so they rely on the voice correcting software to make them sound better than they really are.. with the advent of all those software programs live bands can't compete live with their own recorded songs. Meaning they are fighting themselves & losing to themselves.
How else are bands going to make money? they have to play live & tour.. there's not much money in record CD sales.. at some point band members have to play live..
Good stuff, figure out what works for you and make adjustments or additions as necessary in your mix.
That’s on you for over-complicating the mixing part, as you did on drums for example. No one hears the processing and all the eq’s and saturation on the kick drum. You can achieve even better results with top-down mixing.
Love your honesty dude!
Room hack: books, books, lots of random books scattered randomly everywhere on random shelves. Also, an open clothing closet with random clothes.... Let the power of random be your friend... May not look Instagram tidy, but sure it works. The old adage about sausage manufacturing holds true...
BTW, I Hate NS-10s!
hey just confirming and thanking for the cheat sheet, it really made me fine tune my mixes!!!!
Oh man you got this, that's how it goes in real life mixing💯🎯
Great video. Well said.
Wow soooo much good info .. THANK YOU!
No.7 is plain fact. You can't even hear the bass on And Justice for All and how many people enjoyed that album? When the song is good, you just need the mix to not be pure shit to sound good.
It's the same way some bootleg live performance still can give you goosebumps.
Hey, I hope all is going well. Could you please advise what is the mixing board you have on your desk? Thanks! All the best
this the kind of video i need
While i appreciate that professional mixers favour a template but is this not mainly for speed/time/money? Whereas, i mix my own music and tend to approach each track differently. Am i missing something?
Appreciate your content.
Cheers!
I always look forward to a new video from you. Thanks.
Any chance of you doing a full mix reconstruction from scratch? Such as they do in Mix With the Masters for example. That would be W content. Would gladly pay to watch you mix for 2+ hours straight. My mixes improved unmeasurably since I started to follow your channel.
Tons of that inside my program, the pro production system
Great insight my man, thank you!
"A great mix is never going to make up for a crappy song..." well...I feel attacked. What about crappy songs with crappy mixes? 🤣
Totally agree. Bang on.
Isn't the other problem with high end monitors that most stuff sounds great? You're blown away how great your record will sound you go home, you put on your headphone and it... lacks a lot.
This is where money can’t buy talent
I normally don't comment on any video but you are so true based on my own experience 👍👍👍👍
Excellent video.
Analog vs. digital? When it comes to mixing it may be close, however, when it comes to recording analog it's unique.
Thanks you
Can confirm, the mixing cheat sheet is a phenomenal. my bands latest single sounds 1000x better than our first recording with the same gear.
Thank you.
Im diggin your clipper, silencer, and oxygen plugins
Great Video !Jordan !
Great content brother.
Are those the 10’s or 10a’s?
Interesting. I mix on B&W speakers as I've had them 20 years and know what good music sounds like on them.
Great video. Amateur here, I learned I have to trust my ears over everything else.
The actual skill of mixing is taste and knowing whats appropriate for the music. The rest is learned techniques to approach the task at hand.
being FAMILIAR with your system is much better than having a system that's so flat and expensive that you run yourself into the ground.
Your mixes in metal stuff are the Best by far, at least for me. I love how you approaching what you are saying. Absolute logical consumptions.
White noise generator while mixing.
How do you feel about mixing on Studio-Headphones, that you know very well?
Ppl think mixing is like carving a statue from a block of stone, but in reality its more like play-doh...
I like that!
13:00 is what you are looking for. You might not like it - but it's the truth :)
Myth, 11, Most pro’s mix and engineer their own stuff. Most musicians don’t. Spend time creating , “prepare” your music for mixing and engineering and then do what the pros do……let other pros do what they are good at.
As someone who learned to mix through years of working in a high-end studio, I disagree to quite a bit here. Yes, learning your monitors+room beats great monitoring. But learning great monitoring surely beats learning subpar monitoring. At the end of the day it comes down to budget, but I'd advise anyone starting out to highly prioritize their monitoring and room over anything else. Especially the bass & sub frequencies are incredibly difficult to get right in a poorly treated room.
IMHO these ideas you put out that subpar monitoring and noisy environment would somehow be positives bc it forces you to make bigger moves are ludicrous. Learning which moves to make, big or small, is only helped by using great monitoring.
If you mix on small speakers as Jordan said you don't hear the sub frequencies. You could have problems with the low mids, in that case you should fix them. I don't have them either since I mix on my laptop speakers and Airpods (I know not the best quality but translate really well, I listened to a song of mine on a friends phone and in his car and sounded great)
Absolutely not. It doesn't matter the speakers (to a certain extent), it REALLY matters the room response, like incredibly. You buy a Trinnov ST2 PRO, calibrate the speakers on a REALLY WELL acoustically treated room, and then you'll notice what mixing is. You can even have a SUB, when it is calibrated, you'll address things that will free so much headroom so that mids and highs will benefit from. The rest comes with experience, but what you are saying is not how we should address the mixing problem
People might crucify me for my opinion, but I've been mixing on athm40x headphones for 10 years, and people are either shocked, or they just don't notice/care
I came to conclude that the biggest traits to develop as a mixer are high level intuition and critical thinking.
1:49 why is there black tape over focals logos xD ??
💯
That kick drum didn't sound all that good tho XD
Do yu have a sub? I never used a sub, but now I feel another level of satisfaction with music that was lacking...and those NS-10 are shy on bass.... I guess what are you saying, but now I feel the music in a different way, and that is crucial to me.... the movement of music is in another level just giving a tiny touch of subs
I like having that low end for tracking and producing, for vibe and energy... but for mixing I prefer no sub.
This guy makes way too much sense.
This video is so anti-everything propagandised... I love it!
Know your Equipment! This is such an old trite phrase, but so true till today...
And always remember this too: The music will tell you, what it wants, not your Gear and not the internet.
THX.
6 6 6
❌❌❌
If I’m not wrong a few years ago a guy won 5 granmys recording her sister in his freaking room.
His sister*
👏👏👏👏👏👏
Some good suggestions here but a bit exaggerated. Be careful with internet advises in general (including mine). You might be a person who's ears might need good monitors or more than a descent room while you actually need a lot less or more affordable options than what this individual is suggestion in other areas, plugins, other gear, etc... Just take the advice here with precaution.
When you check out Zack Cervini producing bmth with krk monitor, you're like oooookkkkkkk 😆
Bet your mixes wouldn’t pass critique from a real engineer. I would also guess your mixes don’t sound great either . Arm chair engineers all think they have reinvented the wheel.
I really hope that no one takes your advice on monitors and room.
You are ruining the prosumer speaker market 🙂
I have been an acoustic engineer for 15 years and you said a lot of rubbish in this video, I understood that your audience of subscribers is novice people without a penny in their pockets, but this way you spread misinformation
Do you still skate????
Didn't skate at all this year. Body is failing me :(
Tell it Jordan cutting thru all the BS get to the real truth - just like your BSA plugins simple and work great and fun to use
are you saying it's all about the ears? wow.
Just make sure to gain stage monster cables into plug-in doctor with 8x over sampling while analog summing.
don't forget to ping back the doctor because you will see what you don't want.
lol
Ummm you forgot about dithering???
Every time mate. 😂
And bounce those compressors into quantization before auto tuning your rack folks. Very common mistake!
Preach bro preach. Placement of the speakers makes an incredible difference as well. Great video.
That closing bit was pure gold. The food analogies are simple but effective. It resonates because the current track I'm working on has strayed into more frustrating/tedious territory than fun. I reckon that's showing when I re-track bits I'm unhappy with. Getting way too clinical. Will aim to focus on the energy of the track today and see if that helps me stop being so pedantic. It would be nice to finish some time this side of Christmas 😂 Cheers mate
Agree for the most part, however, not having an accurate room is a recipe for disaster for most people. It was for me early on even though I knew my room well and had the same speakers for years. The room added an EQ curve that was completely counterproductive to attempt to work around. I had to reference on multiple systems just to overcome it and the final mixes in the mix room never sounded "right". I'm on studio #5 now and the last two have been acoustically accurate rooms. My mixes are much more effortless and translated everywhere pretty much immediately. Mix revisions are few which saves me time and money.
He says a decent room you know really well. No room is perfect.
@@MarcoRaaphorst still not great.
@@TBRNashville great for some, not great for others. It's all a matter of knowing your stuff and dealing with the stuff you're working with.
I was actually about to say what you've said here. Rooms can be incredibly problematic and counterproductive. I can only somewhat agree with him on that point.
Headphones are always a go to for me because of exactly that.
Even half of what he was saying about being lost in big studios using their far field Genelecs is not knowing the room.
Agree. Mine just made me obsess over bass levels because the slightest changes in position were causing things to disappear in the bass. Its more a case of needing to pass a threshold of quality like most equipment and subsequent upgrades pay off less and less the more you spend. I always think to ask- does the advice giver mean its fine not having a 5k mic or do they mean not have an 57 quality. I think most room qualities Miguel not pass the last threshold. Rooms are one of the most expensive and useful tools. Or else headphones, lowing ties limitations, graphs and simple brief speaker tests on a couple systems do me fine.
The only thing I disagree with is the "knowing your room" analogy. The room needs to be flat so you can take the thousands of rooms in the wild - out of the mix. In the old days, every control room was finely tuned to not influence any frequency. If there are problems in the room - it doesn't matter if you know what the problems are - you won't be able to unhear the problems - your brain will mix them back in. Probably one of the reasons that you have had success with mixing on the NS10Ms is that they are always close enough to your ears ( near field monitors ), to remove the actual room problems - And I do agree that knowing them helps as well. But in the 1980s, I could pretty much walk into any studio in the world and the reference would sound almost the same. The client speakers in the room were always different and as you said were extremely hard to mix with.
100%. Working around clear problems, like SBIR and other room nodes, is a recipe for disaster for most people. Having an (at least reasonably ) accurate room is pertinent IMHO.
Its less about flat spectrum to me, but more about how room resonances are NOT just an frequency graph. Ears do adapt to different distributions, although they do matter just try mixing with an equalised wastes bus and you get different results yes.
A room with resonance is reactive. Small changes in position change the sound. It obscures detail. It makes a dynamic response when a certain instruments note matches that resonance. One channel may sound different to another across left and right or phase cancel sides too much. Make you take off all the verb because the room lacks definition.
Not so much flat, you can use non flat monitors like n s 10 in a good room.
I've experience over 25 years in music industry. Now back again on NS10 (CLA NS10) - Highly recommend !
Seriously i don't understand ppl saying u need a perfect sound proof studio room floating above the ground with zillion dollar speakers pointed at the perfect angle when some guys going to be listening to it on their crappy laptop speakers😂
i've been very fortunate to be able to use nice outboard gear and mix on a neve console and ssl console, and yes it does sound amazing in the room but that's because it' being monitored through 30k monitors in a well treated room. Of course its going to sound amazing. As soon as you take one of throes sessions into a normal listening environment they sound just like any other mix. Stll miss thoes consoles but man can they be a pain in the arse sometimes.