Andrew Scheps returns to Having a GAS and is IRL and 'unplugged' for the first time! *Thanks to Ashore for providing this episodes location:* ashore.io More Podcasts Here: ruclips.net/p/PLqTTXkHu-bI-2VfIic3LMyL3hqBqThM8X
11 years mixing, my biggest tips: Learn compression for consistent dynamics. Learn EQ for removing masking. Treat esses, but find the best way to control it (Sometimes a dynamic eq is better) Find a reference track and listen to their bass, snare og vocal level. Don't add vocal effects until you have finished processing the vocal (dynamics, timing, tuning) Manually tune a vocal first, take your time with this, before adding echoes etc. Understand when to clip peaks, limit peaks, control resonanse, and volume automate. Investing in plugins is fine, but only purchase a plugin if you are missing that tool or your tool isn't doing the job well enough. Eq you reverb highs and resonances. I discovered that when you get a new plugin you will overdo it for the 15 first songs you use it on, and then you will learn to use it subtly and at the right times. Most important of all before mixing, organise your project. I use analog 1176 and analog la2a when compressing vocals, over plugins and find this helps me get the vocals 70% of the way. Why these two? 1176 is faster and helps catch vocal transients, while la2a transparently levels out the the remaining dynamics. Fast attack pushes vocals back, slow attack makes it punchy. Fast release will increase the low level content, slow release can reduce this if not desirable. Let me know if you want a video on this!
I met Andrew at NAMM in 2020. He was as kind and as genuine as can be; sometimes his daughter was with him. He always acknowledged me whenever we bumped into or walked past each other.
He seems like one of the nicest guys in the business. And that's saying something because many audio professionals are very nice people. The guys that tend to have success in the business are people that connect with artists and talk to them in a way that gets good results. But even among a profession full of nice people, Andrew stands out.
When I hear something that resonates with me I put it in my notes, this is what I wrote down; “ Know your tools well so you can use them without thinking too much about them so you don’t loose the perspective of what you’re achieving to do. The hardest part about mixing is staying creative all the time as soon as you dive in a rabbit hole you loose that. You need to be always listen as a listener to not loose perspective .” Great conversation 👌🏼
Andrew Talks to Awesome People is the best music production podcast I've ever heard. He's an amazing interviewer. He really knows how to listen to his guests and connect with them. And his guest list was obviously amazing.
I could listen to him talking about mixing and audio in general for days. No one else seems to be able to explain these concepts so clearly and concisely. Being able to just pull up hours of his knowledge on my phone, is an absolute privilege.
Heres what I learned atfet 15 years of mixing: The professionals know which probelms need fixing and fix them. Masters find bigger picture problems and solve them with simpler solutions. Just my two cents and what I aspire to become... edit: a lovely reaction was Andrews reaction to a new tip on transient lengh implying different distances. His first question: "Does that work?".
Recently Ive heard a couple ppl say 'I want my drums to be different, the 909, 808, etc. are just so boring." I just shake my head and I think "They are drums, they serve everything that you layer on top of them" I totally feel validated after hearing Andrew basically confirming the same as my thoughts.
I had a discussion with AraabMuzik about the number of kick drum samples you need. He boasted that he had and needed over a million. Not my problem, whatever floats your boat, but I told him I used only a handful. The rest is filters, eq, adding a transient master or not, compression of the drum bus, and when in doubt some added side chain, and some reverb to top things off. I remember the first time, my friend in college, and I had a recording of Thriller on a computer (late 80th) and checked out that the kicks just touched the 0 dB level of the Redbook protocol. That still is my goal when I need a snappy mix. So drums don't always get buried in the mix 😄.
@@artisans8521 Drums are super important, but outside of using like found sounds/foley most of the time there's like 3 overarching characteristics I am overall looking for the quality I want of them. hard/agressive, driving and energetic, and soft and subtle. Beyond that to me they are kind of like the frame of a house to attach the walls, doors, windows and roof on.
As a jack-of-all trades audio engineer I spend a lot of time listening to various engineers and producers talk about their process, but Andrew is another animal. When I was in audio school I absolutely adored the album Neptune by The Duke Spirit. Gandaldore here worked on that shit.
I’m an indie artist, self taught and I make everything by myself : composing, recording, mixing, artwork .. but it’s not by choice, I was born before the internet, so I started with bands, live experience. I had to take the less traveled road because the chemistry didn’t work, but it’s when you hear Andrew talk that you realize how important vision is a part of audition 😬😉… always a pleasure to hear experience talk 🙏 Thank you
Andrew, you are such a wonderful teacher! For the longest time I questioned my simple approach to mixing: focusing mostly on balance and using 3 to 4 plugins per channel, on average. (i.e., compression, saturation, delay and eq (only if I absolutely need it to tame high and/or low frequencies, etc.), and reverb sends. For me, if the tracking is solid, then mixing should be simple - time consuming, perhaps, but still simple. Thank you so much for encouragement!
Ha! Just found this a little late. But I subscribed when I heard, "I don't like the Beach Boys". Finally, there's someone else in this world...Great interview though, I learned quite a bit! Thanks!
I have a HUGE tip when trying to avoid the screen. Get a Fighter Twister and map the controls to the plugins to it. It changed my (studio) life. Using studio one which is amazingly easy to map, but no matter how hard it is worth it. I just look down on the knobs instead of the screen. Magic right there.
Ah! The entire point of the mix is emotional, Andrew said. Like a wholeness perspective and not just technical details. That could be one key between top level mixing engineers and average mixes.
Exactly. I don’t claim to be on his level, but when I mix, the final question I ask myself is: Does it FEEL good? For me, I have to literally have the sensation that I’m sitting in a velvet couch. I also recall in my mind, how I felt about certain mixes that had an influence on me such as Pink Floyd’s Dark Side of the Moon, Steely Dan’s Aja, or anything by Marvin Gaye from the early 70s. Sure. A mix can sound great with lots of clarity and punchiness. But…FEELING is everything. If I don’t get there, I’ll go back and rework it until I find it.
Mr Schepes, you don’t know me and I do t know you. However I am a fan of your work. But even more so your approach and concepts of mixing. Thank you for sharing with us.
This was invaluable! Great interview. Many gems here, but the focussing on individual elements bit was massive for me! I sometimes have a sound in mind before the session starts, and focus so much on it that sometimes I miss the fact that the track is doing just fiiiiine without that specific sound I had in my mind and that I have been obsessing over for hours.
Chris Berens at Audeze,(that Andrew Scheps talks about in headphone segment), has been invaluable to me for choosing several headphones for my room here. My room is very good and tuned, but the headphones are crucial here.
All those rules and processes are essentially guidelines for learning and training your ears. Once you get to the point you can trust your ears the "rules" matter less. Andrew trusts his ears, so he doesn't need all the rules and processes as long as he's happy with the product.
I haven’t heard of that about transients in the time axis, but I’ve heard someone mention that the volume of the transient is lower when it’s further away (so lowering it with a compressor pushes it back in the mix). Maybe that’s what he meant? Otherwise, I don’t see how that would work since sound travels at a constant speed in a recording studio. Maybe more room reflections sum together at the mic and that tiny delay results in a longer sounding singular transient 🤷♂️
I think taking a 15 minute listening break, take a walk or whatever and then come back with fresh ears, can also do womders. Listening farigue can be very counter productive.❤
Be interesting to know how he keeps everything in his brain. Specifically thinking about the number of tracks, groups, sub groups etc etc . How does he manage all the information when he's mixing?
Is it strange that I’m not surprised how well he excels at classical music? Like I know he has this reputation for his liberal use of parallel compression and distortion, but his whole philosophy is and has always been about “putting you in the room with the band” and it just makes sense to me that he can capture an orchestra in that same way!
I find myself puzzled about the recording quality. Andrew is moving a lot in front of the sm7b and he also hitting and re-positioning the mic. yet we don't hear any coloration, any bumbs, any rustle. I also think that the sure sm85 and sm7b sound a little to brilliant to be "vanilla" especially in that kind of room and that kind of distance. I have two theories: you either boom the voices right above the cams, hence the bigger range of possible movement, or you run your signal through some serious AI-filtering-black-magic. third option is that you spend a crazy amount of time on post-processing manually. do you mind spilling the secrets here for us fellow podcasters?
It’s a little from column B and a little from column C. We do make an effort to ensure these pods sound good with post production, but we also use Adobe’s new voice enhancement tool. We have to blend the enhanced signal with the dry signal because the Adobe tool is pretty artefacty in the high end. - Greg
Cool. Not trying to be snarky. I use it all the time at work, but it definitely has a sound, and I have to be careful not to be heavy handed with it.@@HavingaGAS
@ 14:58 - "I think it's a loss of perspective more than anything else...You need to learn how to listen as a listener and not just as someone who knows what's going on"---statement of the Year!🤓
I’ve never understood putting anything on the MixBus at the start, because how could you possibly know how to tweak those knobs if the sound you’re going to be sending through it hasn’t even been created yet?
Because once you become familiar with the tools and you are familiar with your own mixes… you already know roughly where it’s going to be If a given set of values on the mix bus compressor worked pretty well on the last ten mixes… it’s going to work on the eleventh as well, because you are mixing it, and the mix … and your approach to mixing in general is going to be similar to the prior ten songs
Hey Andrew, I responded to one of your Reddit threads but got literally nothing but downvotes. No one bothered to suggest any alternatives, I guess my idea was just deemed unworthy. I want a plugin compressor-limiter that lets me draw my own attack and release curves with splines. The closest thing is Sonible Smart Comp which is basically just illustrated attack time and one extra parameter. Not bad. It should also have upper and lower thresholds and a custom drawable knee would really put it over the top, making it able to do literally any compression/expansion sound and even what playfair dynamic grader can do.
My condolences for receiving downvotes on Reddit. MCompressor by Melda allows you to define custom curves with splines. It's also free to use. I'm not sure if it ticks all your boxes, but I suppose you'll just have to give it a try.
I'd say Cableguys Shaperbox plugins are pretty much exactly what you are looking for, or atleast the most practical way to do what you're talking about. Also, Reddit is a place of endless pettiness, but I do see why this would probably get downvoted. It may be missing the forest for the trees of what you want a compressor to do, but I think the shaperbox compressor/volume plugins would do exactly what you're looking for.
@@magicmark3309 I appreciate your comment, and I think Shaperbox is a fantastic plugin, but Volumeshaper is a ducker, not a compressor, and IMO does not sound or behave like a compressor hardly at all. It has a fixed amount of gain reduction modulated by an LFO, not the audio signal.
@@redcollard3586 they have a specific compressor/dynamics shaper now. Among a bunch of other ones. I was just mentioning the volume shaper as well in case you hadn’t heard of it, but I think they added the compressor one last year or so. I mean, it’s pretty much spot on to what you’re talking about, or atleast from what I gather you’ve said. I also know there’s a couple other plugins that are super close to what you’re saying, but I can’t think of their names at the moment. I feel like izotope has something like that. Also, the FabFilter dynamics plugins may not feature the drawing spline ability, but they do have great visual representations.
@@michaelgraflmusic Thanks for mentioning the MComp, Michael. I would describe it as offering a fully custom spline interface knee control. Very, very cool indeed, and exactly what I want for a combined knee/threshold interface. But I wish I could do that same process for both attack and release controls as well. Basically if you could fuse MComp with VolumeShaper... that would be just about the perfect interface! Now let me multiband it as much as a like, give it the fabfilter gui treatment, and then it can do literally everything in a mix except true saturation and verb/delay.
@audeze should send this guy 10 pairs of cans. Why? Bc guys like me have been mixing on 7506’s since 2002 bc if it’s good enough for Scheps it’s good enough for me. (Re: 1:12 ish “Mixing in cans” or we)
When you really just want to hear Scheps talk about his craft because he has so much to offer, and yet you have to put up with the interviewer talking 50% of the time. When will interviewers learn it is not about them ?
The only “cheating” is if you tell people you achieved a result one way but it was actually achieved another way. However, if the same result was achievable the first as the second way, and the tools used to get that result are available, then it’s also not cheating to use those tools to get that result. Unless you’re in a competition where everyone is given the same limited tools, but you use something, how can it be considered cheating to use tools you have available to produce a particular result?
Treating the mix buss or sub mix busses in the act of mixing is a fools errand, it’s not up for debate, it’s cart before the horse common sense shit, I will throw an eq, compressor or ? on the mix busses AFTER I’m at the finish line of the actual mixing process as a next step, but anything before hand is just dumb and I know a lot of people do it because there is a shit ton of aimlessly bad mixes out there, ask if Al Schmidt mixed into a 2 buss, he certainly did NOT, he’d use it at the end
Speaking in absolutes in a creative landscape is “a fools errand”. There are plenty of Grammy winning mixers who work on the mix bus, different strokes for different folks. All that matters is if it sounds good in the end. Sit down dude you sound like a whiny boomer.
The ssl bus comp is famously known to be mixed into, because artists wanted the mix to sound like the radio in the studio sessions. Look up the ssl e-series console and the history of it. Also read a book called ‘behind the glass’ loads of mix engineers mix into the mix bus, it’s a fact.
It’s also called ‘top down’ mixing and the reason mix engineers utilise this philosophy is because you can create a vibe easier and the mix can sound more inspiring sooner.
@@Cvydx and you sound bad guaranteed, fundamentals of engineering are NOT an art form, it’s science. Here’s some science for you that I’m positive you don’t know, compression in series is a multiplication, not an addition, that is a fact that is not subject to artistic whim, mixing into a 2 buss compressor is what all rubbish faux engineers do, not the real guys, and the vast majority of real guys are pretty much boomers, clown
The only “cheating” is if you tell people you achieved a result one way but it was actually achieved another way. However, if the same result was achievable the first as the second way, and the tools used to get that result are available, then it’s also not cheating to use those tools to get that result. Unless you’re in a competition where everyone is given the same limited tools, but you use something, how can it be considered cheating to use tools you have available to produce a particular result?
Andrew Scheps returns to Having a GAS and is IRL and 'unplugged' for the first time!
*Thanks to Ashore for providing this episodes location:* ashore.io
More Podcasts Here: ruclips.net/p/PLqTTXkHu-bI-2VfIic3LMyL3hqBqThM8X
11 years mixing, my biggest tips:
Learn compression for consistent dynamics.
Learn EQ for removing masking.
Treat esses, but find the best way to control it (Sometimes a dynamic eq is better)
Find a reference track and listen to their bass, snare og vocal level.
Don't add vocal effects until you have finished processing the vocal (dynamics, timing, tuning)
Manually tune a vocal first, take your time with this, before adding echoes etc.
Understand when to clip peaks, limit peaks, control resonanse, and volume automate.
Investing in plugins is fine, but only purchase a plugin if you are missing that tool or your tool isn't doing the job well enough.
Eq you reverb highs and resonances.
I discovered that when you get a new plugin you will overdo it for the 15 first songs you use it on, and then you will learn to use it subtly and at the right times.
Most important of all before mixing, organise your project.
I use analog 1176 and analog la2a when compressing vocals, over plugins and find this helps me get the vocals 70% of the way.
Why these two? 1176 is faster and helps catch vocal transients, while la2a transparently levels out the the remaining dynamics.
Fast attack pushes vocals back, slow attack makes it punchy.
Fast release will increase the low level content, slow release can reduce this if not desirable.
Let me know if you want a video on this!
Even Andrew Scheps is not immune to the slow sag of a boom mic stand...Love this great talk fellas!
haha *lol*
should've gotten a Latch Lake
Tama never sag and are more affordable.
Sir Andrew Scheps is the Gandalf of Mixing
You aren’t lying😭
Nah dude, Gandalf is the Andrew Scheps of wizardry.
he's Dumbledore
I met Andrew at NAMM in 2020. He was as kind and as genuine as can be; sometimes his daughter was with him. He always acknowledged me whenever we bumped into or walked past each other.
He seems like one of the nicest guys in the business. And that's saying something because many audio professionals are very nice people. The guys that tend to have success in the business are people that connect with artists and talk to them in a way that gets good results. But even among a profession full of nice people, Andrew stands out.
When I hear something that resonates with me I put it in my notes, this is what I wrote down;
“ Know your tools well so you can use them without thinking too much about them so you don’t loose the perspective of what you’re achieving to do. The hardest part about mixing is staying creative all the time as soon as you dive in a rabbit hole you loose that. You need to be always listen as a listener to not loose perspective .”
Great conversation 👌🏼
I do miss his interviews! Got me through the pandemic!!!
Andrew Talks to Awesome People is the best music production podcast I've ever heard. He's an amazing interviewer. He really knows how to listen to his guests and connect with them. And his guest list was obviously amazing.
Al Schmitt, once said when your recording in the worlds best rooms, with the best artist and best instruments, best equipment it gets easier.
“Cheating” is when somebody else does something I hadn’t thought of and it sounds better and/or achieves results faster than what I’m doing. 😂
Ok, I've just invented Beard Mic, that Andrew Scheps' next update should incorporate. I love listening to Andrew because he is so, so genuine.
So calming listening to Andrew
I could listen to him talking about mixing and audio in general for days. No one else seems to be able to explain these concepts so clearly and concisely. Being able to just pull up hours of his knowledge on my phone, is an absolute privilege.
Heres what I learned atfet 15 years of mixing: The professionals know which probelms need fixing and fix them. Masters find bigger picture problems and solve them with simpler solutions. Just my two cents and what I aspire to become... edit: a lovely reaction was Andrews reaction to a new tip on transient lengh implying different distances. His first question: "Does that work?".
Wow
I've only been mixing 4 years and this comment found at the perfect time. Cheers!
Such a great interview! Thank you.
52:36 LMAO. Sometimes the only way to avoid steering people in the wrong direction is to stop the car completely. I hear you, Mr Scheps.
The interviewer learned so much on this interview
Exactly how a good conversation should be. Hope you learned something too from watching
Always a pleasure listening to Andrew Sheps. Thx for that!
That was awesome! Thank you ❤. And I love to work with the Audeze as well 🤗
The knowledge in this video is pure gold. Thank you so much for making this public! Greetings from Sweden.
"we're solving Emotional problems (in a recording) by using technical tools", such a perfectly profound simplicity.
Recently Ive heard a couple ppl say 'I want my drums to be different, the 909, 808, etc. are just so boring." I just shake my head and I think "They are drums, they serve everything that you layer on top of them" I totally feel validated after hearing Andrew basically confirming the same as my thoughts.
I had a discussion with AraabMuzik about the number of kick drum samples you need. He boasted that he had and needed over a million. Not my problem, whatever floats your boat, but I told him I used only a handful. The rest is filters, eq, adding a transient master or not, compression of the drum bus, and when in doubt some added side chain, and some reverb to top things off. I remember the first time, my friend in college, and I had a recording of Thriller on a computer (late 80th) and checked out that the kicks just touched the 0 dB level of the Redbook protocol. That still is my goal when I need a snappy mix. So drums don't always get buried in the mix 😄.
@@artisans8521 Drums are super important, but outside of using like found sounds/foley most of the time there's like 3 overarching characteristics I am overall looking for the quality I want of them. hard/agressive, driving and energetic, and soft and subtle. Beyond that to me they are kind of like the frame of a house to attach the walls, doors, windows and roof on.
Wow, Andrew is really cool, I like the way he talks so softly yet assertively
As a jack-of-all trades audio engineer I spend a lot of time listening to various engineers and producers talk about their process, but Andrew is another animal. When I was in audio school I absolutely adored the album Neptune by The Duke Spirit. Gandaldore here worked on that shit.
Wow, I’m really impressed by Edward Norton’s interview skills in the world of audio. Who knew?
Lol
I’m an indie artist, self taught and I make everything by myself : composing, recording, mixing, artwork .. but it’s not by choice, I was born before the internet, so I started with bands, live experience. I had to take the less traveled road because the chemistry didn’t work, but it’s when you hear Andrew talk that you realize how important vision is a part of audition 😬😉… always a pleasure to hear experience talk 🙏
Thank you
Glad that you enjoyed this episode and thank you for sharing your story!
Andrew, you are such a wonderful teacher! For the longest time I questioned my simple approach to mixing: focusing mostly on balance and using 3 to 4 plugins per channel, on average. (i.e., compression, saturation, delay and eq (only if I absolutely need it to tame high and/or low frequencies, etc.), and reverb sends. For me, if the tracking is solid, then mixing should be simple - time consuming, perhaps, but still simple. Thank you so much for encouragement!
Glad watching this was helpful for you, loads more episodes on the channel too
12:07 Elegantly succinct. This opened up my perspective on the philosophy of mixing. Thank you!
Ha! Just found this a little late. But I subscribed when I heard, "I don't like the Beach Boys". Finally, there's someone else in this world...Great interview though, I learned quite a bit! Thanks!
I have a HUGE tip when trying to avoid the screen. Get a Fighter Twister and map the controls to the plugins to it. It changed my (studio) life. Using studio one which is amazingly easy to map, but no matter how hard it is worth it. I just look down on the knobs instead of the screen. Magic right there.
I was literally listening to Jon Hopkins immediately before watching this haha. The kick on open eye signal is indeed amazing.
A beautiful piece of music
Love this
Ah! The entire point of the mix is emotional, Andrew said. Like a wholeness perspective and not just technical details. That could be one key between top level mixing engineers and average mixes.
Exactly. I don’t claim to be on his level, but when I mix, the final question I ask myself is: Does it FEEL good? For me, I have to literally have the sensation that I’m sitting in a velvet couch.
I also recall in my mind, how I felt about certain mixes that had an influence on me such as Pink Floyd’s Dark Side of the Moon, Steely Dan’s Aja, or anything by Marvin Gaye from the early 70s.
Sure. A mix can sound great with lots of clarity and punchiness. But…FEELING is everything.
If I don’t get there, I’ll go back and rework it until I find it.
Loved this. It's always easy to sit through an entire podcast with Andrew Scheps. Would love to see his friend "Evil" Joe Barresi on some time! 🤘
Mr Schepes, you don’t know me and I do t know you. However I am a fan of your work. But even more so your approach and concepts of mixing. Thank you for sharing with us.
This was invaluable! Great interview. Many gems here, but the focussing on individual elements bit was massive for me! I sometimes have a sound in mind before the session starts, and focus so much on it that sometimes I miss the fact that the track is doing just fiiiiine without that specific sound I had in my mind and that I have been obsessing over for hours.
yessss excited to watch another interview with andrew scheps 😁
ready to learn some new stuff 🫡
Thanks for tuning in! Let us know what you pick up!
Love this new setup!
We love filming interviews in person and are aiming to do more in this style moving forward. Thank you for your support!
Chris Berens at Audeze,(that Andrew Scheps talks about in headphone segment), has been invaluable to me for choosing several headphones for my room here. My room is very good and tuned, but the headphones are crucial here.
andrew spittin bars
Where can I find the "Listen" plugin he is talking about?
All those rules and processes are essentially guidelines for learning and training your ears. Once you get to the point you can trust your ears the "rules" matter less.
Andrew trusts his ears, so he doesn't need all the rules and processes as long as he's happy with the product.
thank you very much
Scheps is so cool, zero f$%ks given, just does his thing with no stress, doesn't over think things
Can someone explain what he’s referring to at 23:42 when he’s talking about the transient being closer, closer to what?
I haven’t heard of that about transients in the time axis, but I’ve heard someone mention that the volume of the transient is lower when it’s further away (so lowering it with a compressor pushes it back in the mix). Maybe that’s what he meant?
Otherwise, I don’t see how that would work since sound travels at a constant speed in a recording studio. Maybe more room reflections sum together at the mic and that tiny delay results in a longer sounding singular transient 🤷♂️
I think taking a 15 minute listening break, take a walk or whatever and then come back with fresh ears, can also do womders. Listening farigue can be very counter productive.❤
1:02:58 speaking of aliasing, does the Omni chan v2 have oversamplibg... the saturation in v1 aliases....a lot.
This interview is GREAT! The interviewer missing the mark so much on what Andrew is trying to say gets even MORE out of Andrew.
The XLR bending coming out of the SM58 is hurting my soul
Possible to get the links for the two "listen: plugins ? Thanks x
🙃
It is me or… this is an old upload??… i think I remember watching this…. Huh? Greatt podcast man!
It's brand new, third episode on the channel with Andrew Scheps you may have watched one of the previous episodes as well?
i do not find that album on RUclips Music :-/ Who is the artist of BLUE HOUR?
Ok just watched a demo video on that Freakshow site Andrew recommended and was half expecting that girl from The Ring to crawl out of my screen
Andrew is very wise as the record companies are now suing Udio and Suno!
I remember a interview where Michael Jackson was auditioning snares all day long until someone dropped one, and hes like "yes That!"
Be interesting to know how he keeps everything in his brain. Specifically thinking about the number of tracks, groups, sub groups etc etc . How does he manage all the information when he's mixing?
Is it strange that I’m not surprised how well he excels at classical music? Like I know he has this reputation for his liberal use of parallel compression and distortion, but his whole philosophy is and has always been about “putting you in the room with the band” and it just makes sense to me that he can capture an orchestra in that same way!
The perfect mix is the one that takes the least effort to perceive
I find myself puzzled about the recording quality. Andrew is moving a lot in front of the sm7b and he also hitting and re-positioning the mic. yet we don't hear any coloration, any bumbs, any rustle. I also think that the sure sm85 and sm7b sound a little to brilliant to be "vanilla" especially in that kind of room and that kind of distance. I have two theories: you either boom the voices right above the cams, hence the bigger range of possible movement, or you run your signal through some serious AI-filtering-black-magic. third option is that you spend a crazy amount of time on post-processing manually. do you mind spilling the secrets here for us fellow podcasters?
It’s a little from column B and a little from
column C.
We do make an effort to ensure these pods sound good with post production, but we also use Adobe’s new voice enhancement tool.
We have to blend the enhanced signal with the dry signal because the Adobe tool is pretty artefacty in the high end.
- Greg
Super intéressant bien que ca ne soit pas le style que je pratique c'est toujours bien de voire des méthodes de travail et des tricks
Did you use adobe enhance on the voices?
Sounds bad
I think we did, but I'll check with Nathan to be sure.
- Greg
Cool. Not trying to be snarky. I use it all the time at work, but it definitely has a sound, and I have to be careful not to be heavy handed with it.@@HavingaGAS
@@ChrisIsaac1 it adds a fair amount of low end for sure
23:08 I just take my screen off and listen
Why are they using a boom mic stand??
@ 14:58 - "I think it's a loss of perspective more than anything else...You need to learn how to listen as a listener and not just as someone who knows what's going on"---statement of the Year!🤓
Why would you bother Trademarking "Gas"?
Having a gas is trademarked
@@claudioragnedda but who in the world would steal such a cringy name anyways
@@RockmannMusic It's not the worst, maybe in British English it is slang for something we don't know of
Gear acquisition syndrome
@@Right_in2 nice
1:11:10 who? 😅
I’ve never understood putting anything on the MixBus at the start, because how could you possibly know how to tweak those knobs if the sound you’re going to be sending through it hasn’t even been created yet?
Because once you become familiar with the tools and you are familiar with your own mixes… you already know roughly where it’s going to be
If a given set of values on the mix bus compressor worked pretty well on the last ten mixes… it’s going to work on the eleventh as well, because you are mixing it, and the mix … and your approach to mixing in general is going to be similar to the prior ten songs
Hey Andrew, I responded to one of your Reddit threads but got literally nothing but downvotes. No one bothered to suggest any alternatives, I guess my idea was just deemed unworthy. I want a plugin compressor-limiter that lets me draw my own attack and release curves with splines. The closest thing is Sonible Smart Comp which is basically just illustrated attack time and one extra parameter. Not bad. It should also have upper and lower thresholds and a custom drawable knee would really put it over the top, making it able to do literally any compression/expansion sound and even what playfair dynamic grader can do.
My condolences for receiving downvotes on Reddit. MCompressor by Melda allows you to define custom curves with splines. It's also free to use. I'm not sure if it ticks all your boxes, but I suppose you'll just have to give it a try.
I'd say Cableguys Shaperbox plugins are pretty much exactly what you are looking for, or atleast the most practical way to do what you're talking about.
Also, Reddit is a place of endless pettiness, but I do see why this would probably get downvoted. It may be missing the forest for the trees of what you want a compressor to do, but I think the shaperbox compressor/volume plugins would do exactly what you're looking for.
@@magicmark3309 I appreciate your comment, and I think Shaperbox is a fantastic plugin, but Volumeshaper is a ducker, not a compressor, and IMO does not sound or behave like a compressor hardly at all. It has a fixed amount of gain reduction modulated by an LFO, not the audio signal.
@@redcollard3586 they have a specific compressor/dynamics shaper now. Among a bunch of other ones. I was just mentioning the volume shaper as well in case you hadn’t heard of it, but I think they added the compressor one last year or so. I mean, it’s pretty much spot on to what you’re talking about, or atleast from what I gather you’ve said.
I also know there’s a couple other plugins that are super close to what you’re saying, but I can’t think of their names at the moment. I feel like izotope has something like that. Also, the FabFilter dynamics plugins may not feature the drawing spline ability, but they do have great visual representations.
@@michaelgraflmusic Thanks for mentioning the MComp, Michael. I would describe it as offering a fully custom spline interface knee control. Very, very cool indeed, and exactly what I want for a combined knee/threshold interface. But I wish I could do that same process for both attack and release controls as well. Basically if you could fuse MComp with VolumeShaper... that would be just about the perfect interface! Now let me multiband it as much as a like, give it the fabfilter gui treatment, and then it can do literally everything in a mix except true saturation and verb/delay.
@audeze should send this guy 10 pairs of cans. Why? Bc guys like me have been mixing on 7506’s since 2002 bc if it’s good enough for Scheps it’s good enough for me. (Re: 1:12 ish “Mixing in cans” or we)
39:59 - information worth a million dollars
Loves me some Freakshow Industries
34:24 was that a fart? 🤔
Can you please ask Andrew Scheps if he has tinnitus?
I do. Definitely a concern for me. But, I think your headphones and monitors can be set to somewhat compensate
I feel exactly the same way about Pet Sounds. I bought it but find it unlistenable
When you really just want to hear Scheps talk about his craft because he has so much to offer, and yet you have to put up with the interviewer talking 50% of the time. When will interviewers learn it is not about them ?
But a dialogue is how to get scheps to spill knowledge.
His mixing philosophy is very akin to zen. Has anyone written zen and the art of recording music, yet?
A mixbus reverb? That's in vogue again is it? Remember people scoffing at Ozone 5 for having a mixbus reverb?
Yeah I'd avoid a trick like that.
The only “cheating” is if you tell people you achieved a result one way but it was actually achieved another way. However, if the same result was achievable the first as the second way, and the tools used to get that result are available, then it’s also not cheating to use those tools to get that result. Unless you’re in a competition where everyone is given the same limited tools, but you use something, how can it be considered cheating to use tools you have available to produce a particular result?
I watched this for 45 minutes thinking he was Rick Ruben...
Jk
Is he still making a sausage out of everything
Trying to justify John frusciante’s disrespect 😢
Nadie dice la Verdad
Bro revealed nothing
Treating the mix buss or sub mix busses in the act of mixing is a fools errand, it’s not up for debate, it’s cart before the horse common sense shit, I will throw an eq, compressor or ? on the mix busses AFTER I’m at the finish line of the actual mixing process as a next step, but anything before hand is just dumb and I know a lot of people do it because there is a shit ton of aimlessly bad mixes out there, ask if Al Schmidt mixed into a 2 buss, he certainly did NOT, he’d use it at the end
Speaking in absolutes in a creative landscape is “a fools errand”. There are plenty of Grammy winning mixers who work on the mix bus, different strokes for different folks. All that matters is if it sounds good in the end. Sit down dude you sound like a whiny boomer.
your lack of experience is speaking quite loud
The ssl bus comp is famously known to be mixed into, because artists wanted the mix to sound like the radio in the studio sessions. Look up the ssl e-series console and the history of it. Also read a book called ‘behind the glass’ loads of mix engineers mix into the mix bus, it’s a fact.
It’s also called ‘top down’ mixing and the reason mix engineers utilise this philosophy is because you can create a vibe easier and the mix can sound more inspiring sooner.
@@Cvydx and you sound bad guaranteed, fundamentals of engineering are NOT an art form, it’s science. Here’s some science for you that I’m positive you don’t know, compression in series is a multiplication, not an addition, that is a fact that is not subject to artistic whim, mixing into a 2 buss compressor is what all rubbish faux engineers do, not the real guys, and the vast majority of real guys are pretty much boomers, clown
The only “cheating” is if you tell people you achieved a result one way but it was actually achieved another way. However, if the same result was achievable the first as the second way, and the tools used to get that result are available, then it’s also not cheating to use those tools to get that result. Unless you’re in a competition where everyone is given the same limited tools, but you use something, how can it be considered cheating to use tools you have available to produce a particular result?