A very wise and knowledgeable philosopher once dropped a life changing line on a podcast..... “CANDY IS FOR AFTER DINNER!!” 🙌🏾🙌🏾🙌🏾 TEACH my man!! YES SIR!!! 📣🎵
thanks for all this concepts and knowledge, man watching your videos make me want to learn more and more about mixing and mastering and also make me want to mix
I have heard frequently about how choosing the focal points in mixes is the most important thing to do. Never heard it explained in this much depth before though. It's much needed! Thanks Justin!
To mix well, you must know the technique thoroughly, but in the end, it's about transmitting sensations and feelings, rather than making a "perfect" mix. Great video, thanks!
While I've never heard a song you've mixed or mastered, your ideas make so much sense in the context of audio production that I trust your perspective. (Besides obvious credentials that come with experience and teaching courses.) Thank you for sharing your knowledge and experience with those of us who want to improve our craft.
Here's some of Justin's credits, per his Soundbetter profile: Credits Josh Dion Band Jadakiss Wynton Marsalis Willie Nelson Chrisette Michele Flight of the Conchords Sugarhill Gang Jimmy Webb Dead Leaf Echo Jandek Rebecca Pronsky The Shaggs DeLeon Monocle Soundpool Rza Deerhunter Amanda Palmer Fiery Furnaces Battles Brent Green Vijay Iyer Black Dice Mahogany Bryce Dessner of The National Sufjan Stevens Team Genius Brothertiger WFMU WNYC Glenn Kotche of Wilco Josh Dion yoke lore
@@johngraham9878 I was correct, as none of those artists are people I have heard songs from. However; that's an impressive list of people who I'm certain are happy with Justin's work.
Amazing Mixing awareness, thx Justin & Sonic Scoop. I wish you the best cause you're giving so much more clarity on what mixing really is and this is very important for new generation of mixers that are time killed by lot of desinformation in this era.
What a gem! Thanks, Justin! You touched on it in the text in the video, but these principles perfectly mesh with another concept important to me: mixing with the arrangement. That is, each section of the song, e.g., verse, chorus, middle eight, etc., may demand its own focal points.
This is so relevant. I'm currently mixing a record that has SO many layers of synths, guitars, vocals, etc. etc. and figuring out the priorities is more than half the battle This was a helpful reminder!
Really great tips and so timely for me. Writing, producing, and mixing an upcoming track called "Forgiveness" for NICU and this is really helping with the songwriting and production by ranking the Tier 1-3 instruments and deciding where the spotlight should land in the production Tier 1: Synth Hook, Lead Vocal, Snare, Guitar (Solo only) Tier 2: Bass, Backing Vocals, Guitar (except the Solo), Tier 3: Kick Drum, Percussion, any other layers ty ty
Thanks so much for covering hip-hop! And, yes, your off-the-cuff analogy of "dinner vs candy" works perfectly! It effectively encapsulates the mixing concept/vision you presented with prioritizing the 2 or 3 key elements of the mix and using the other elements as secondary support. This makes my mixing world a little bit smaller and more manageable. This podcast is so empowering AND liberating, making me want to consume your courses! Thanks!!! 😀
When practicing law, I taught numerous seminars and was told that I had a gift for clearly explaining complex concepts in an understandable way. You have that same gift delivered with humility and humor. I also know that teaching takes a lot of time to prepare. Now that I have more time to perform, write, mix and produce music, I can always count on your podcasts/videos for informative and straightforward insights. Thank you!
I feel like you said what I thought I already knew, but something just clicked. And that definitely explains the typical critiques I’ve gotten on mixes for years from clients.
I was going to make the food analogy in a more fine gastronomic experience sense and as I went to type it you started in on yours. hehe! This really resonates with me because candy simply keeps me from even getting to dinner sometimes!
Great stuff! I came to a similar conclusion as to why vocals sounded so BIG in the 1940s, 50s and even 60s to some extent...ie in part because the other instruments sounded "smaller".
This is a great video Justin! I've heard people talk about this before, but the way you explained it is so helpful and easy to understand (loved the food analogy!)
Hey Justin! I very much appreciate the coaching call today! It really helped me out. I really feel like you are speaking to me here in this video. These ideas are hitting home and I bet they will propel me forward with my mixing.
It's all about the meat and potatoes 🤣 gold. Your a champion in the RUclips mixing space. I get your feels when you talk, and it makes all the difference to understanding the mindset, and skills required, and how to stay focused on what's important. You and Drumeo and solid channels. Cheers from AUSTRALIA mate. Id throw you a shrimp on the bbq.
Justin, I agree with all of this but I'd like to add something. The most MAGICAL records of all time often, whilst usually have one or two key elements that we love consistently throughout the three or four minutes, have different events in different parts of the song that keep us excited - from the opening note of the intro, the last note of the outro. A great example?: Hit Me With your Rhythm Stick by Ian Dury and the Blockheads (the most badass verse bassline of all time) - MY favourite mix EVER!! (or one of them!) - Richard in the UK
Absolutely! The focal points can shift between sections. And then some of the most memorable mixes, they do! I’ll have to check that one out. Thanks for the recommendation. -Justin
@@SonicScoop Thanks Justin, I learn SO MUCH from your podcasts, by the way. Having just bought a TC electronic Clarity M spectrum analyser, your advice about lower end frequencies (in particular) is making so much sense. By the way, Prince, in his "Sign of the Times" era, uses barely any sub stuff compared to the "Graffiti Bridge" era (my fave) a few years later. As for me, at the ripe old age of 59 years, 11 months and 2 weeks, and having made three home studio albums over the years... coming back to your excellent tutorials, (thanks again) as Don McLean sang in his 1972 classic, Vincent, ""Now I understand.... what you tried to say to me..." 😀😇😍
My problem is the production disappointment graveyard. I must mix everything rather than abandon or else when I start to write and produce works I'm proud of, I won't have any mix experience.
I've watched a bunch of your videos and personally feel this is one of the most important concepts you've ever relayed. Maybe it's just because I finally realized this concept myself just a few days ago :). Anyway, thanks for the tips!
Is amazing to listen to people who actually know more than you. This video seems to be made for "me" Thank you Justin for helping me to open my mind a bit more and make see a few things from a different point of view.
future podcast question here! i also emailed you lol, but here’s my question.. i feel i really got a REAL perspective and grasp on mixing, where i can not only HEAR the gap between my mixes and professional mixes, as well as how a professional master affects that gap.. and it really started coming together because i read “the art of mixing,” by david gibson. the visual imagery, the technicalities, and the way the equipment interfaces with the music to create seemless dynamics, finally became pretty damn apparent to me. but after that became apparent, it also hit me that things have changed so much since the book was written. these tried and true techniques and values, i assume, have not only changed, but have evolved. so my question is, what is the history of mixing?? how has it changed, evolved, maybe even regressed or also progressed?? i’m really curious to hear your take on this…
Great advice, I think I have the same problem wanting to get everything perfectly balanced. Thinking about some mixes I could improve in that way, I would be interested in how you would treat focal points in the mix, that don't play through the whole song like vocals, bass drum, Snare etc. Maybe the most important elements could also change during the song?
I’m about to move to mixing in Dolby Atmos. So my thoughts are more on how to cause song focus within the DA Renderer beyond my DAW. But your video, Justin is very good indeed. Thanks 👍🏻
Thank you Justin - this is so true, but I'd never really thought about it in terms of the points you make here. I do a lot of acoustic covers. One of my favorite Adult Contemporary references is 'I Put A Spell On You' by Queen Latifah. When you listen to it from the point of view you discuss, it's clear that it's the vocal and piano (by Herbie Hancock) supported by the bass and then everything else (strings, guitar) take center stage in this track. Here's a RUclips link: ruclips.net/video/Ut0IZpBT1EE/видео.html - unfortunately the fidelity is noticeably reduced on YT vs CD - but you can certainly pick out the "leaders & followers" of the track. Mixed by Grammy winning engineer Michael O'Reilly, Mastered by Ted Jensen of Eagles' 'Hotel California' & Norah Jones' 'Come Away with Me' fame.
QUESTION JUSTIN, How do you choose what is the focal point on a track that has several stellar points, Should they show up as focal when they are important and what happens If they all need to tell the story
Thankyou for sharing your knowledge boss! I just have a quick question, what are the top two music distribution platforms in your opinion for an independent artist, thankyou!
DistroKid, Tunecore and CDBaby are all great. If it was me, that's probably roughly my preferred order, but it kind of depends on what best suits your needs. We have an affiliate discount code for DistroKid if that's useful: DistroKid.com/vip/SonicScoop And a video about their service here: ruclips.net/video/FFIkchRGTes/видео.html Hope that helps! -Justin
Can you explain head room I usually mix under 3 db but I’m the collective gain still clips on the master so I don’t pay much attention to this detail more how the overall sounds, what miss conceptions?
Ackchyually..... The ads run from 5:37 to 6:36... so about 59 seconds in total. Unless you count me mentioning my own courses on the same subject, so maybe 4:47 to 6:36, or about 1min 50 seconds if you look at it that way. All of the rest of the first 6:30 is the actual ideas of the episode :-) C'mon. Two minutes of ads for 30+ minutes of free content? That's not bad! Do you listen to many podcasts? This is pretty light compared to the average! -Justin
@@SonicScoop I don't even remember what the subject matter of that episode was but it was my favorite because of the apple tangent and seeing you geek out about something so banal and wholesome. Come to think of it, I should go see if the grocery store has Rome apples. Those are my favorite.
I always think chasing references instrument by instrument is a mistake. Unless you're recording a carbon copy cover, it's different players, different instruments, different song. We should make the stars of our mixes the best version of _themselves_ not try to hammer them into a pastiche of someone else's mix. My approach to references is as if my mix is going to be on a compilation album with those references so it needs its own character but lives happily alongside them.
Absolutely. I do NOT recommending trying imitate a specific mix outside of very specific contexts such as "sound alikes". That said, listening to references before you start mixing can help tune you back into what "good" really sounds like in your room, and when you run into a question about relative balances, you can pull up several references and ask the question of how great material you love handled the same kinds of problems and tradeoffs. This can be very helpful. Referencing should be done very differently at each stage of production. Here's a whole episode about it! : ruclips.net/video/U7x1IEIxxtk/видео.html
I struggled with this for years. Obsessing over every sound being amazing and in your face.
Same 👋
-Justin
A very wise and knowledgeable philosopher once dropped a life changing line on a podcast..... “CANDY IS FOR AFTER DINNER!!” 🙌🏾🙌🏾🙌🏾 TEACH my man!! YES SIR!!! 📣🎵
thanks for all this concepts and knowledge, man
watching your videos make me want to learn more and more about mixing and mastering and also make me want to mix
I have heard frequently about how choosing the focal points in mixes is the most important thing to do. Never heard it explained in this much depth before though. It's much needed! Thanks Justin!
To mix well, you must know the technique thoroughly, but in the end, it's about transmitting sensations and feelings, rather than making a "perfect" mix.
Great video, thanks!
While I've never heard a song you've mixed or mastered, your ideas make so much sense in the context of audio production that I trust your perspective. (Besides obvious credentials that come with experience and teaching courses.)
Thank you for sharing your knowledge and experience with those of us who want to improve our craft.
Here's some of Justin's credits, per his Soundbetter profile: Credits
Josh Dion Band
Jadakiss
Wynton Marsalis
Willie Nelson
Chrisette Michele
Flight of the Conchords
Sugarhill Gang
Jimmy Webb
Dead Leaf Echo
Jandek
Rebecca Pronsky
The Shaggs
DeLeon
Monocle
Soundpool
Rza
Deerhunter
Amanda Palmer
Fiery Furnaces
Battles
Brent Green
Vijay Iyer
Black Dice
Mahogany
Bryce Dessner of The National
Sufjan Stevens
Team Genius
Brothertiger
WFMU
WNYC
Glenn Kotche of Wilco
Josh Dion
yoke lore
@@johngraham9878 I was correct, as none of those artists are people I have heard songs from. However; that's an impressive list of people who I'm certain are happy with Justin's work.
Amazing Mixing awareness, thx Justin & Sonic Scoop. I wish you the best cause you're giving so much more clarity on what mixing really is and this is very important for new generation of mixers that are time killed by lot of desinformation in this era.
What a gem! Thanks, Justin! You touched on it in the text in the video, but these principles perfectly mesh with another concept important to me: mixing with the arrangement. That is, each section of the song, e.g., verse, chorus, middle eight, etc., may demand its own focal points.
100% TRUE.
I learned this in about my 5th year of mixing records.
I mixed for 15 more years.
😎👍👍
Man. THANKS FOR THIS EPIC TIP INTO THE WORLD OF MIXING!!!!! Definitely going to be using this in my mixes, from here on out 🙏🏼🙏🏼🙏🏼🙏🏼
This is so relevant. I'm currently mixing a record that has SO many layers of synths, guitars, vocals, etc. etc. and figuring out the priorities is more than half the battle This was a helpful reminder!
Really great tips and so timely for me. Writing, producing, and mixing an upcoming track called "Forgiveness" for NICU and this is really helping with the songwriting and production by ranking the Tier 1-3 instruments and deciding where the spotlight should land in the production
Tier 1: Synth Hook, Lead Vocal, Snare, Guitar (Solo only)
Tier 2: Bass, Backing Vocals, Guitar (except the Solo),
Tier 3: Kick Drum, Percussion, any other layers
ty ty
Thanks so much for covering hip-hop! And, yes, your off-the-cuff analogy of "dinner vs candy" works perfectly! It effectively encapsulates the mixing concept/vision you presented with prioritizing the 2 or 3 key elements of the mix and using the other elements as secondary support. This makes my mixing world a little bit smaller and more manageable. This podcast is so empowering AND liberating, making me want to consume your courses! Thanks!!! 😀
So awesome to hear Vance!! Thanks for listening, and for the great comment.
-Justin
When practicing law, I taught numerous seminars and was told that I had a gift for clearly explaining complex concepts in an understandable way. You have that same gift delivered with humility and humor. I also know that teaching takes a lot of time to prepare. Now that I have more time to perform, write, mix and produce music, I can always count on your podcasts/videos for informative and straightforward insights. Thank you!
Thank you. You opened my eyes and my one ear i have left. My mix is now amazing. I came out of bed at 4:55am to fix the mix.
I feel like you said what I thought I already knew, but something just clicked. And that definitely explains the typical critiques I’ve gotten on mixes for years from clients.
I was going to make the food analogy in a more fine gastronomic experience sense and as I went to type it you started in on yours. hehe! This really resonates with me because candy simply keeps me from even getting to dinner sometimes!
Great stuff! I came to a similar conclusion as to why vocals sounded so BIG in the 1940s, 50s and even 60s to some extent...ie in part because the other instruments sounded "smaller".
This is a great video Justin! I've heard people talk about this before, but the way you explained it is so helpful and easy to understand (loved the food analogy!)
This is a great deep dive explanation. Very appreciated and opens up a new way of approaching my mixes. Awesome channel this!
Hey Justin! I very much appreciate the coaching call today! It really helped me out. I really feel like you are speaking to me here in this video. These ideas are hitting home and I bet they will propel me forward with my mixing.
Awesome to hear Aaron! Great to meet you and keep up the good work!!
Thanks,
Justin
The dinner analogy worked for me. I'll try to listen music with different ears from now on. Thank you for all the helpful videos you make :)
It's all about the meat and potatoes 🤣 gold. Your a champion in the RUclips mixing space. I get your feels when you talk, and it makes all the difference to understanding the mindset, and skills required, and how to stay focused on what's important. You and Drumeo and solid channels. Cheers from AUSTRALIA mate. Id throw you a shrimp on the bbq.
I appreciate that-please do! :-)
Thanks,
Justin
Justin, I agree with all of this but I'd like to add something. The most MAGICAL records of all time often, whilst usually have one or two key elements that we love consistently throughout the three or four minutes, have different events in different parts of the song that keep us excited - from the opening note of the intro, the last note of the outro. A great example?: Hit Me With your Rhythm Stick by Ian Dury and the Blockheads (the most badass verse bassline of all time) - MY favourite mix EVER!! (or one of them!) - Richard in the UK
Absolutely! The focal points can shift between sections. And then some of the most memorable mixes, they do! I’ll have to check that one out. Thanks for the recommendation.
-Justin
@@SonicScoop Thanks Justin, I learn SO MUCH from your podcasts, by the way. Having just bought a TC electronic Clarity M spectrum analyser, your advice about lower end frequencies (in particular) is making so much sense. By the way, Prince, in his "Sign of the Times" era, uses barely any sub stuff compared to the "Graffiti Bridge" era (my fave) a few years later. As for me, at the ripe old age of 59 years, 11 months and 2 weeks, and having made three home studio albums over the years... coming back to your excellent tutorials, (thanks again) as Don McLean sang in his 1972 classic, Vincent, ""Now I understand.... what you tried to say to me..." 😀😇😍
Once again a serious push in the right direction. Thanks so much
Super valuable info and so well explained. 👍👍👍👍👍👍👍👍
all about the MAIN COURSE! great analogy =)
Spot on! Just like complementary colors enhance the focal point in interior design.
Thanks Justin, best episode ever!
My problem is the production disappointment graveyard. I must mix everything rather than abandon or else when I start to write and produce works I'm proud of, I won't have any mix experience.
I’ve been mixing since mono thank you for doing this. You are spot on!!
I've watched a bunch of your videos and personally feel this is one of the most important concepts you've ever relayed. Maybe it's just because I finally realized this concept myself just a few days ago :). Anyway, thanks for the tips!
Very useful advice!!! Thank you!
Damn, now I'm HUNGRY! Great presentation, as usual, Justin.
What an ANALOGY!!!
Your candy analogy was spot on.
Is amazing to listen to people who actually know more than you. This video seems to be made for "me"
Thank you Justin for helping me to open my mind a bit more and make see a few things from a different point of view.
Thanks for a video, very interesting!
Amazing video as per usual. You are absolutely spot on.
This is so great and helpful. Thank you!
GREAT!! Thanks, one of the best advice ever..
future podcast question here! i also emailed you lol, but here’s my question.. i feel i really got a REAL perspective and grasp on mixing, where i can not only HEAR the gap between my mixes and professional mixes, as well as how a professional master affects that gap.. and it really started coming together because i read “the art of mixing,” by david gibson. the visual imagery, the technicalities, and the way the equipment interfaces with the music to create seemless dynamics, finally became pretty damn apparent to me. but after that became apparent, it also hit me that things have changed so much since the book was written. these tried and true techniques and values, i assume, have not only changed, but have evolved. so my question is, what is the history of mixing?? how has it changed, evolved, maybe even regressed or also progressed?? i’m really curious to hear your take on this…
Great advice, I think I have the same problem wanting to get everything perfectly balanced.
Thinking about some mixes I could improve in that way, I would be interested in how you would treat focal points in the mix, that don't play through the whole song like vocals, bass drum, Snare etc. Maybe the most important elements could also change during the song?
100%! I should have emphasized that more on the episode. Focal points can change from section to section.
-Justin
In the words of the famous Andrrw Schepps - Kick Snare Vocals and bass..everything else is ...everything else
Hahaha guess I’m totally weird! Enjoyed this mixing mindset perspective.
This was a Damn Good Lecture/Tutorial/Lesson.
I’m about to move to mixing in Dolby Atmos. So my thoughts are more on how to cause song focus within the DA Renderer beyond my DAW. But your video, Justin is very good indeed. Thanks 👍🏻
We have a LOT of content coming on Atmos soon! Make sure you're subscribed, because we'll have a whole bunch coming in September and October.
-Justin
@@SonicScoop I’ve been subscribed for quite a while. You’re great 👍🏻
👍 Video, This helps explain why Producer's like Preme,Dr.Dre, J Dilla etc. Beats are so Hyptnotic
Listening to Pharrell Williams Happy after this was pretty damn eye opening!
Dinner first!!! 👊🏿
i love that music and food are sooooooo related 😂😂😂
I like the analogy 👍
Awesome, glad it is working!
-Justin
Diet - great analogy!
Is this episode from McDonald's? Cuz I'm lovin' it! Thank you!!!
Thank you Justin - this is so true, but I'd never really thought about it in terms of the points you make here. I do a lot of acoustic covers. One of my favorite Adult Contemporary references is 'I Put A Spell On You' by Queen Latifah. When you listen to it from the point of view you discuss, it's clear that it's the vocal and piano (by Herbie Hancock) supported by the bass and then everything else (strings, guitar) take center stage in this track. Here's a RUclips link: ruclips.net/video/Ut0IZpBT1EE/видео.html - unfortunately the fidelity is noticeably reduced on YT vs CD - but you can certainly pick out the "leaders & followers" of the track. Mixed by Grammy winning engineer Michael O'Reilly, Mastered by Ted Jensen of Eagles' 'Hotel California' & Norah Jones' 'Come Away with Me' fame.
Major Key! 💯🙏🏿
I am curious about what piece of advice you could give for metal productions, where everything is so tight.
QUESTION JUSTIN,
How do you choose what is the focal point on a track that has several stellar points, Should they show up as focal when they are important and what happens If they all need to tell the story
Thankyou for sharing your knowledge boss! I just have a quick question, what are the top two music distribution platforms in your opinion for an independent artist, thankyou!
DistroKid, Tunecore and CDBaby are all great. If it was me, that's probably roughly my preferred order, but it kind of depends on what best suits your needs.
We have an affiliate discount code for DistroKid if that's useful: DistroKid.com/vip/SonicScoop
And a video about their service here: ruclips.net/video/FFIkchRGTes/видео.html
Hope that helps!
-Justin
Thank you 👏🇩🇰
Du bist der Beste!
question... can you address mixing over 40 or more when your ears don't hear certain high frequencies~! and how do you work around it
Can you explain head room I usually mix under 3 db but I’m the collective gain still clips on the master so I don’t pay much attention to this detail more how the overall sounds, what miss conceptions?
6:36 video start from here.. before that only advertisement.
Had to mention it.. its more than 6 minutes of time waste...
Ackchyually..... The ads run from 5:37 to 6:36... so about 59 seconds in total.
Unless you count me mentioning my own courses on the same subject, so maybe 4:47 to 6:36, or about 1min 50 seconds if you look at it that way.
All of the rest of the first 6:30 is the actual ideas of the episode :-)
C'mon. Two minutes of ads for 30+ minutes of free content? That's not bad! Do you listen to many podcasts? This is pretty light compared to the average!
-Justin
All right all right I get it, don’t be so angry 😂
Hi Justin, another great video. As a herbivore, can we get some plant based anecdotes next time pleeez? 😁
I do have an episode where I randomly go DEEP on an analogy with heirloom apples. I'll try to keep it fairly equal access in that regard! :-)
-Justin
@@SonicScoop I don't even remember what the subject matter of that episode was but it was my favorite because of the apple tangent and seeing you geek out about something so banal and wholesome. Come to think of it, I should go see if the grocery store has Rome apples. Those are my favorite.
@@SonicScoop nice!
just curious, will there be a mixcon this year?
YES! Starts in September. Stay tuned!!
-Justin
@@SonicScoop of course i will
I always think chasing references instrument by instrument is a mistake. Unless you're recording a carbon copy cover, it's different players, different instruments, different song.
We should make the stars of our mixes the best version of _themselves_ not try to hammer them into a pastiche of someone else's mix. My approach to references is as if my mix is going to be on a compilation album with those references so it needs its own character but lives happily alongside them.
Absolutely. I do NOT recommending trying imitate a specific mix outside of very specific contexts such as "sound alikes".
That said, listening to references before you start mixing can help tune you back into what "good" really sounds like in your room, and when you run into a question about relative balances, you can pull up several references and ask the question of how great material you love handled the same kinds of problems and tradeoffs.
This can be very helpful. Referencing should be done very differently at each stage of production. Here's a whole episode about it! :
ruclips.net/video/U7x1IEIxxtk/видео.html
Wow, a musician's dream exposed!