I dig how the things mentioned as tools are all approachable (if not duplicatable with other tools) and none of it was mystified. It proves that it is Rob's (and Warren's) skill and ear that gets the job done. It is helpful because it means we can work on that and maybe not blame a lack of some magic tool we need. Thanks!
Golden Nugget on video: ALWAYS end your session/work on a high note, stamp that cadence with positive energy the client will love it and keep coming back to you.
Audience perspective for an upright piano is... generally the same as player. An upright is usually against the wall, so bass is left and treble right for everyone. Grand piano, of course, is different - but not opposite. Audience perspective for a grand piano is more or less mono if you think of it. How many performances have you been to - whether rock/pop band, sonata, or solo recital - where a piano was situated on stage in any configuration besides profile? Otherwise nobody can see the pianist lol. Sometimes it's tilted a little bit, like 20° or so, where the bass keys would be a *little* left (actually this config is perfect if you need to keep sub-250 in the center) and highs skew a bit left in the stereo field. You can tell I've thought about this way too much. 🤣
Loving the form of this interview. Well done Warren and team. Rob seems like an awesome guy. The give and take and exchange of knowledge between these two is so fun to watch
Wow, so many great ideas bubbling up through this conversation! Fun and instructive. All I need now are the starting talent and the years of hard work developing it. Well, at least I have some control over the hard work.
The mainstream mixing community seems to keep overlooking some really great reverbs the orchestral community uses. They should try out LiquidSonics Cinematic Rooms Pro. You can place an instrument in a room with one instance and then use another instance for the reverb. Should you need 5.1. 7.1, or 7.1.6, it can do that too. Another overlooked reverb would be the LiquidSonics Seventh Heaven Pro - which is really an IR of the Bricasti M7. I know it sounds like I'm pointing out reverbs from just one company, but there is a reason these reverbs are used so much in movie and trailer soundtracks.
Thanks for sharing! Not sure what the mainstream mixing community is though! Haha If there is one I"m certainly not a part of it! Haha I use Seventh Heaven, so do most of the major mixers I know! Cinematic Rooms Pro does get some love, however, Seventh Heaven is very heavily used in Rock/Pop/Country/Hip Hop etc.
@@Producelikeapro Well, I was going to say rock, but that seemed way too focused. I'm still at a loss as to what to exactly call it, but I meant "non-orchestral". My point is very few mix engineers interviewed ever mention either of those reverbs. By the way - your book is excellent. You can tell a lot of effort was put in.
What an incredible interview! Warren this content is timeless and Rob Kinelski is super funny and informative. Wish I had access to FabFilter plugins but alas... Anyways, what a great time watching this
BIGEST thanks for the mention of : It is not MANDATORY to have a full rush life without any time for whatever else than working in this industry. It is possible, and it is actually valuable in terms of healthcare, to work in a more life oriented schedule. And also, I'm really curious about the RX DeNoise settings, can of blow my mind away.
Indeed, although it must be said that many of us, Rob included, have built careers on very long hours, delayed marriage and kids until we were able to have a life that could be more balanced.
A few points I picked up: Straight forward chains, you can tell he focuses on listening. Would've liked to know about his use of the dorrough meters... Have them and have no idea how the pros look at them as they gainstage Liked his backstory, not the typical story. Awesome. Thanks
Interesting point on panning. I'm hearing mixed signals on this. On some videos/course people seems to recommend player perspective, especially on drums.
Interesting. Most mixes I’ve ever heard the drums are audience perspective, mixers who are drummers like to pan drummer perspective. For piano most mixers prefer low to high as they would while sitting in front of a piano
Hey I play piano for like 45 years but I never knew there was an audience perspective... doesn't that depend on where the piano stands? Grandpianos usually have the bass strings at the back... But when you play an upright, it's usually against the wall, and there audience = player perspective - bass is on the left... ???
The audience perspective for a grand piano is more mono than the player perspective due to what you said above. Not sure about the upright as the only time I used one in my music it was heavily processed samples. Older recordings from the 50's like Arthur Rubinstien used player perspective a lot. Personally, I prefer it, but then I play piano so . . .
@@Ultimate_Wasabi yeah that makes sense. Interestingly many e-pianos give you players perspective and then you need to mess with combined panning to set in the mix.
I totally agree. I think he must have misspoken. The only way it could have popped out of the mix is if he heard high notes on the left. This could have happened recording a grand with the 'left' mic pointing to the high notes. Should probably label the mics 'piano hi', 'piano lo'.
Cool guy,that is who we all want to work with. "Service industry"...i call it audio janitor. Remember that U2 record you couldn't erase from your iphone? Like a nightmare,make the Bono man stop mommy!
Rob Kinelski is such a wonderfully humble guy and very talented mixer! I hope you enjoy this interview with him as much as I did. Many thanks, Warren
Love the charisma between you two. Love how in-depth he shared his chains
Thanks ever so much Lee! I really appreciate it
That was a great interview. Good vibes all around. I appreciate the humor.
Thanks ever so much!
Didn't think I'd be interested, he started talking: then I was interested. A very engaging guy and a unique journey.
Rob is a wonderful guy
Great chat!! Rob is down to earth!!
Agreed 100%!
I dig how the things mentioned as tools are all approachable (if not duplicatable with other tools) and none of it was mystified. It proves that it is Rob's (and Warren's) skill and ear that gets the job done. It is helpful because it means we can work on that and maybe not blame a lack of some magic tool we need. Thanks!
Yes, I believe very strongly in using tools that make sense! I have a couple off 'expensive' plug ins that I use, however they aren't irreplaceable.
Thank you for the great television and chill session Warren… you are the best interviewer in the game… MVP for the music community in my opinion…
Wow! Thanks ever so much
LOVE THESE VIDEOS!!! TANKS FOR SHARING!!! KEEP THEM COMING SIR!!!
Thanks ever so much
Glad you enjoy them
So true about the brutal hours and the expectations
Agreed 100%! Thanks ever so much
Awesome interview!
Thanks ever so much
Golden Nugget on video:
ALWAYS end your session/work on a high note, stamp that cadence with positive energy the client will love it and keep coming back to you.
Absolutely
So humble and great charisma, this is one of the best interviews to date!
Agreed 100%!
Audience perspective for an upright piano is... generally the same as player. An upright is usually against the wall, so bass is left and treble right for everyone.
Grand piano, of course, is different - but not opposite. Audience perspective for a grand piano is more or less mono if you think of it. How many performances have you been to - whether rock/pop band, sonata, or solo recital - where a piano was situated on stage in any configuration besides profile? Otherwise nobody can see the pianist lol. Sometimes it's tilted a little bit, like 20° or so, where the bass keys would be a *little* left (actually this config is perfect if you need to keep sub-250 in the center) and highs skew a bit left in the stereo field.
You can tell I've thought about this way too much. 🤣
Thanks ever so much for sharing
Incredibly skilled and super humble guy - what a treat to hear him talk about his mix bus chain and approach - just so pot on. JPMusic
Yes! Agreed 100%!
Really wonderful interview I’m a huge fan on Rob and it’s so great to see him on this wonderful channel! Really amazing interview! 😀👍🔥🔥🔥
Thanks ever so much for sharing Alexey
Loving the form of this interview. Well done Warren and team. Rob seems like an awesome guy. The give and take and exchange of knowledge between these two is so fun to watch
Thanks ever so much! I really appreciate it! It was a lot of fun to do this interview
Love Rob work, super thanks for this great chat with him Warren
Thanks ever so much!
Waves must be doing a tap dance 🎉 Great interview love how honest and open
Rob is.
Yes, Rob is a wonderful guy and a huge talent
This guy is so humble! I love him!
Thanks ever so much
This was such a great interview. Loved this dudes vibe, considering the level of work he's put out, very down to earth cat.
Agreed 100%!
Wow, so many great ideas bubbling up through this conversation! Fun and instructive. All I need now are the starting talent and the years of hard work developing it. Well, at least I have some control over the hard work.
Thanks ever so much! I'm glad you enjoyed the interview
The mainstream mixing community seems to keep overlooking some really great reverbs the orchestral community uses. They should try out LiquidSonics Cinematic Rooms Pro. You can place an instrument in a room with one instance and then use another instance for the reverb. Should you need 5.1. 7.1, or 7.1.6, it can do that too. Another overlooked reverb would be the LiquidSonics Seventh Heaven Pro - which is really an IR of the Bricasti M7. I know it sounds like I'm pointing out reverbs from just one company, but there is a reason these reverbs are used so much in movie and trailer soundtracks.
Thanks for sharing! Not sure what the mainstream mixing community is though! Haha If there is one I"m certainly not a part of it! Haha I use Seventh Heaven, so do most of the major mixers I know! Cinematic Rooms Pro does get some love, however, Seventh Heaven is very heavily used in Rock/Pop/Country/Hip Hop etc.
@@Producelikeapro Well, I was going to say rock, but that seemed way too focused. I'm still at a loss as to what to exactly call it, but I meant "non-orchestral". My point is very few mix engineers interviewed ever mention either of those reverbs.
By the way - your book is excellent. You can tell a lot of effort was put in.
What an incredible interview! Warren this content is timeless and Rob Kinelski is super funny and informative. Wish I had access to FabFilter plugins but alas... Anyways, what a great time watching this
Thanks ever so much Jayme! I really appreciate it
BIGEST thanks for the mention of : It is not MANDATORY to have a full rush life without any time for whatever else than working in this industry. It is possible, and it is actually valuable in terms of healthcare, to work in a more life oriented schedule. And also, I'm really curious about the RX DeNoise settings, can of blow my mind away.
Indeed, although it must be said that many of us, Rob included, have built careers on very long hours, delayed marriage and kids until we were able to have a life that could be more balanced.
Met Rob a few years ago at NAMM and he's just the nicest guy!! Great interview Warren! ❤
Thanks ever so much for sharing
Delightful energy.
Agreed 100%
Rob is one cool dude. Real gentleman. Thanks very much for the great interview.
Thanks ever so much Joey!
great sit down!
Thanks ever so much
Thank you for this interview with the legend behind the legends.
Thanks ever so much
A few points I picked up:
Straight forward chains, you can tell he focuses on listening.
Would've liked to know about his use of the dorrough meters... Have them and have no idea how the pros look at them as they gainstage
Liked his backstory, not the typical story.
Awesome. Thanks
Thanks ever so much for sharing!
Waves MV2 is one of my go-to's for vocals. That plugin is literally black magic. lol
Pretty wonderful plug-in!
Thanks for sharing!
Thanks for watching!
wow, I'm a fan of Rob Kinelski! Juicy J, Billie Eilish, Joji, Big Sean awesome records. Thank you Warren!
You are most welcome!
Rob seems super cool. Great interview!
He is! Thanks for watching
Great video with GEMS
Thanks ever so much
great interview so interesting. Cool guy
Thanks ever so much
Great interview. Funny guy too!! hehe
Thanks ever so much
Good one
Thanks ever so much
What a cool dude!
Agreed 100%!
Seems like a chill fun dude.
Absolutely.
He almost passed on Billie Eilish??!?! Crazy to hear the back stories!!! Thanks for pulling back the curtain, Warren, your interviews are amazing!!
Thanks ever so much
I really appreciate it
I kind of want to check his website now! 🤣🤣🤣🤣
Ha! Eric did the right thing by keeping it in
Yo! Haha
@@OrangutanTradeSalesmen marvellous
Interesting point on panning. I'm hearing mixed signals on this. On some videos/course people seems to recommend player perspective, especially on drums.
Interesting. Most mixes I’ve ever heard the drums are audience perspective, mixers who are drummers like to pan drummer perspective. For piano most mixers prefer low to high as they would while sitting in front of a piano
they want your ears 🤩 Yes !
Hey I play piano for like 45 years but I never knew there was an audience perspective... doesn't that depend on where the piano stands? Grandpianos usually have the bass strings at the back... But when you play an upright, it's usually against the wall, and there audience = player perspective - bass is on the left... ???
The audience perspective for a grand piano is more mono than the player perspective due to what you said above. Not sure about the upright as the only time I used one in my music it was heavily processed samples. Older recordings from the 50's like Arthur Rubinstien used player perspective a lot. Personally, I prefer it, but then I play piano so . . .
@@Ultimate_Wasabi yeah that makes sense. Interestingly many e-pianos give you players perspective and then you need to mess with combined panning to set in the mix.
I totally agree. I think he must have misspoken. The only way it could have popped out of the mix is if he heard high notes on the left. This could have happened recording a grand with the 'left' mic pointing to the high notes. Should probably label the mics 'piano hi', 'piano lo'.
This was a very enjoyable interview to watch!
Thanks ever so much Kyle
Anybody know ? what is the brand of his mixing desk
Great video, but it's such a pity he didn't open up a project and walk us through one of the tracks that he mixed
Valhalla Vintage Verb = $50...........INSANE!!!!!!!!!🤯
Agreed 100%!
Cool guy,that is who we all want to work with.
"Service industry"...i call it audio janitor.
Remember that U2 record you couldn't erase from your iphone?
Like a nightmare,make the Bono man stop mommy!
Would you say Billie is human or not?
Sorry but, I had some issues with the U2 mixes, but not the ones you worked on. The vocals did not get enough attention in many mixes.
Great to see some love for @ValhallaDSP. Interesting interview, enteraining
Thanks ever so much Rory!