How To Get KILLER Sounding Mixes!

you can see me right now, there I am, I was watching a broadcast now in Germany today, okay, first things first, auto reserve on sale, 20% off, the code is RB 108, so those of you who don't have bought, now is your time. In fact, anything in my stores is 20% off for the next 24 hours. What's up, James? What's happening everyone? So I am transmitting to you through Germany. What's strange is that I disconnected the hotel internet and I'm only using the normal 4G. or whatever and it's like that's all you have to do, okay? I just got into my mixing tips here.

I wanted to make a video about this. I can't add it. I get a lot of questions about this about how D, what's going on? Guys on how to make your

mixes

sound great and this really, these things that I'm going to talk about today are general, as I mentioned. I made a video with those of you who were there a minute ago. I did a video with Pete Thorne today. He's a great guitarist and I'm not going to reveal some of the things we're going to bring out in the video tomorrow, but you know, we were talking about plugins and guitar simulators and amps and stuff we're talking about mixing, so I got the point. thinking about this and I've been talking about it a lot on my second channel, we were talking the other night about bass sounds and we talked about mixer Andy Wallace and his

mixes

and why they sound so good. and there are general principles you should follow to get great

sounding

mixes and this starts before the mixing process.

Okay, so I started jotting down some things about things that are really important. One of the important things is to put your low frequency instruments in the center of the mix that's why the kick and bass go in the center because if you don't then your mixes are unbalanced, okay you wouldn't want to have them if you did , you know, sometimes I'll be looking at the gauges, you'll say what's going on. The meters are a little off. Why is the right channel heavy? I have the guitars in the same place, you know I have the, you know I have.

I have keyboards here, okay, guitars, but everything balanced postponed something, but it's a little heavy, well, if you walk in and you notice that your base is slightly to the right by some you know, for some reason, every time that you get this energy. Like low frequency instruments, it alters the panning of your mix, altering the left/right balance. That's why the kick drum always goes in the middle, that's where the bass always goes in the middle. Now there is an exception with bass. Frequency instruments is that in orchestral, if you listen to an orchestra, usually your cellos will be on stage.

Okay, so they are low frequency instruments and usually the basses are behind the cellos, further back to the right, sometimes slightly panned depending on where they are. They are already in place, this is how the orchestra sounds with its natural panorama. That doesn't mean you can't play your cello because when you're making your orchestral demos, that doesn't mean you can't. You can't put your cellos in the center and your bases in the center and then maybe move your violas to the side and then extend your first violins here, maybe your second violins here, you always want to think about where the low frequencies are. and you want to think about your pan, okay, now with pan, I talked a lot about old school, look, in the old days, with pan there were consoles that gave you three different ones, I mean, Tom just said, there he puts his cellos and bass in the center for that particular reason Tom right some consoles used to have center left right would be the only one you couldn't get 20% here 30% here if you listen to certain records I'll tell you I'll tell you You're an interesting record where the box and the bass drum or slightly off center are Zeppelin, one I have because of the way Glyn John moves his overhead with that Glenn Jones build technique.

If you listen to it, you'll hear your snare drum a little bit louder. on this side and the kick is slightly over there, it doesn't always follow these particular principles, but panning can really be used to accentuate things a lot of times. I'll take things out of the mix that have high frequency information and put them opposite each other. another if my hi-hat is in the left ear and let's say it's on the left speaker and I have an acoustic guitar track or something else a tambourine that imitates it that is in the same frequency range I will put it on the opposite speaker if we are working on some EDM music and everything is quantized, it doesn't matter so much because things can overlap, but if things are not perfect, you know, at the perfect moment you will have flammie and it will become noticeable, it's interesting if you listen and I.

I'm going to put on my glasses so I can read the comments better if you listen to an album that you like Joshua Tree too. I was thinking about this, that um, there's a song on there called Oh, there we go, there's a song called In God's Own Country, it's a really cool tune, it starts in d2 minor and it's strummed really fast and, if you look at the movie Rattle and Hum, Edge plays it with his electric guitar and Larry Mullen jr. the drummer is playing 16th notes on the hi-hat now in the video, they don't, they don't compete with each other because the edge sound doesn't have the same top end of a hi-hat yet on the record they are using. acoustic guitar and you don't hear the hi-hat, in fact, it's like I don't know if they took away the treble, but there's really no hi-hat there because that acoustic guitar actually takes the place of the hi-hat, so if they're not perfectly synchronized, it's produces flaming between them, that's fine and you don't want there to be flaming between these high frequency instruments and it doesn't matter what kind of music you're making, you can be making modern pop music, you can be making, you can be making metal, you don't want to have these things on the same side if you're a drummer and you're playing a pattern that combines the ride on the hi-hat.

Okay, you don't want to have both of them on the same side, that's one of the reasons they're putting it right, it's so you can, it's easier to play, you can play with open hands, okay, but, oh, flaming is when things that go but but things that are not perfectly aligned is fine, it's called flam in a snare rhythm but I but I but I sounds like this where you almost immediately play two notes that are too close together are very close together but not exactly like At the same time, thank you, that's very good, but my video was on fire when I first tried to do it, so one of the things to look for is your pan.

Panning can make or break some mixes that people don't do. I don't really realize that panning is incredibly important for opening up space in the mix, so I'd really think about that. Fred just asked an interesting question. You said why the drums no longer blend to the sides. Well, you know they're on certain records, but when you listen to a drum, once you come back, you have to think about things like this, if you walk away from a drum, it's not coming from anywhere, it's more here, it's more in the center , on the right, it's, it's, it's the sides are inwards a lot of times, the drums actually sound more natural when you don't tighten the overheads, okay, you want to bring them a little closer and you want to give the kit a more central effect, a centered effect.

I like this. Personally putting the tarz hard pant or putting other things is the same aesthetic as Fred when I record a b3 organ and I will make one of these. I will make a video on this b3 recording now many times most of the time. Record a b3 with three microphones. I will put two microphones, one on each side of the speaker at the top that rotates to the right and then on the drum at the bottom that rotates. I'll put a low frequency microphone, something like a D. 20 or a sennheiser 421 with twenties electro-vocals or even a 52 bait if that's all you have, but when I go to mix I usually blend the tracks well because I want the b3 to come from one place if you listen old school records. but most of the time you will hear the b3 on one side and you will hear the organ before, the reverb on the other side and this is an old school trick if you think of a song I want to say from above. off the top of my head thanks for Led Zeppelin or having one speaker reverb from the other speaker and this is another way people would open mixes using pan and reverb as a dry effect signal on one side of the stereo image and the reverb effect on the other side it keeps those frequencies preventing those things from getting muddy because if it's both, if you have everything with reverbs and they all come in center or in stereo, then your mix starts to sound like mush. because you have too many things competing in the same area and if you put everything in stereo it becomes what I call big mono, it's like when you double track the same guitar sound, even if it's a second take, you want to alter the tone of it's to make it sound wider, so normally what I'll do is record, I'll get a sound on one side, go to the other side and maybe put on a distortion pedal that'll take the low end of the guitar and filter it out. goes into the amp and it will change the tone and the way the amp reacts and instantly my mix sounds why guitars have a wider sound with things like that okay another thing to get your Sun mix and great filtering of the serious ones.

Red has a kind of good video on that Red has a good video on John because I showed that to Rhett, so I need to tell you that I need to give Mike my share of that one. I'm just kidding, filter the bass however you want. what you have to do is you want John Rhett to lay down and establish five years of sessions, you want to filter your bass from every track that isn't a main source of bass, okay, it doesn't matter if you're using since then and what are you doing, you know electronic dance music or pop music or something like that?

Do you want to filter your bass? It's very important. It's funny because I have a good friend of mine who just came out, his name is Eric J and he won a Grammy. and he was abandoned years ago and when he started mixing, he's in the New You ad, there's an interview with him and the UAD magazine, the thing they just sent out and I was laughing out loud because I could hear myself saying to him. This was fifteen years ago and now he's a great mixer and he's a super talented guy. I'm going to bring it.

He was in one of my favorite bands that I produced. He was the lead singer of the one I'm playing on. He said it was him. The band was. It's called Essex and Jeff Buckley's drummer Matt was Essex's drummer, he's okay, he filters out the bass and he goes on and on about this and I was laughing while I was saying this so your bass instruments are going to be your base. and your kick drum, those are typically the things that are going to produce bass and your mix, everything else you need to filter when I say filter, that means you save the low end or you put a high pass filter on it now where you put this.

It's important what you don't want to do, you don't want to remove the character from instrument number one and number two when you start removing the background and move it away from an instrument, it produces an effect that would be similar to masking. Okay, if you want, I'll give you an example, if you want, if you have a sound that's really bright, instead of taking the top end and bringing it down, you can add a low end to it and that low end of the sound will mask it, okay? by the way, speaking of masking, there's a book coming out on sale RB 108, you guys buy stuff in my store, you buy mugs or anything that keeps me in business and I can make videos here.

I couldn't be here if it weren't for the people who buy. things in my store because we don't get paid to come here to Germany to leave Amos, so the next thing is to filter out everything that doesn't have a low level because you're filtering out everything that has a low level and you have, oh, what you normally do the filtering. I'll play the track and then play it loudly until you can tell where the highs go. Yes, thanks. You can't join the Blessed club too. That's another way you can support the channel. You bring the high pass filter. until you really notice it and then you move it back, okay, because as soon as you notice it, it takes a minute for your perception to kick in, okay, leave it behind, don't filter it because sometimes you'll say, oh, you don't realize , I don't know, the next thing is you know your filters at 250 Hertz on your guitar or on your keyboard and then you realize that, well, you actually notice those things and eventually you'll back away from that. go back down, you know, 50 Hertz or something, okay, so back off, another thing you have to decide what's going to represent the low end in your mix, okay, so when I say the low end of the mix, goes? will it be a bit of a seve mix or will it be a kick heavy mix, a bass heavy mix will sound one way and a kick heavy mix will sound another way a kick heavy mix obviously with the kick drum is pulsing and the bass You might know, depending on how it's played, it can be a much more consistent sound right now if you decide oh, I want a bass heavy mix.

Well, if you have an electronic mixing base, there is another thing you need to keep in mind. The account is the base plate consistently if the bases are played consistently, that is why you will normally compress the bass to get the consistency of the bass so that there is nodropouts because some people say someone just mentioned blooming children. Counting crows, that's one. of my favorite songs I love that melodyWait, come on, boom, so let's see here like the bass on the kick drum and Audioslave, certain records will have a lot of bass, on certain records there will be a lot of kick, guys like Andy Wallace that I was mentioning and who do a lot of Jeff Buckley and Nirvana. and the Lincoln Park system and whatever, all the heavy rock records out there, helmet Andy Wallace would be a heavy kick mixer, okay, even though he had amazing bass tones, he always mixed the kick, he wanted you to feel the drum.

Okay, you know it's a certain type of mix, whereas if you listen to a lot of records like yours, for example, the records have a lot of bass, the bass is the basis of that, you know, it's really recording after recording and it's something that people decide when they start making a record and okay, Michael asked why would you choose one over the other, they're actually two different sounds, you know, if you have a kick drum that takes up the bass. it ends well every time the kick drum hits if it has a weird pattern edit or something then it can be distracting there's a great song in a perfect circle in step 13 it's called weak and helpless does anyone know that song it's a really great song cool and it has a dudududududududududududududududududu studio it's just freeze playback and the kick drum is really dominant and never stops, but it's incredibly consistent that the song is a beautiful song, but it's kind of a basic feature, although that's the thing, for what the song starts with the bass. playing chords it's a really cool pattern and but it's a kick drum heavy song so these things aren't but it's not a bass heavy song but the kick is the heartbeat ray just said it kicks us the heartbeat of That song in particular one of the things that Andy Wallace does, I talk about this a lot is that he puts a pitch change on his bass all the time in his mixes that he would use programmed 15 of the SPX 90 now programmed 15 it's called symphonic and it's a pitch shift so it also has modulation and it actually makes the bass in stereo and it moves between the speakers and when you have that little movement there it actually makes the bass more present it allows you to do that, it makes the fog mix less static, okay, any time you can put any type of modulation on an instrument, it makes it less static if you do that, but the delay on the instruments makes it less static, Mr.

Ben, which He is a great mixer, he makes all of Max Martin's albums, he mixes many things. on the radio, I don't know if he knows if you know Serban, but he does things like take a hoe, use different delay lengths on different instruments, maybe he'll have a triplet based delay on a vocal, he'll have an eighth note. delay based on another instrument things that are actually obvious to listen to and expect that you don't necessarily do them at the same tempo of the song and one of the reasons is that if you have all the delays superimposed exactly the same you get that you don't hear them, okay, many times what I will do is alter the on either side of a delay.

I'll make one a little bit shorter or longer than the other side so the delays work like that and move between the speakers don't set your delays at the same time don't set them at the same time, you know, three hundred and forty milliseconds, set an eighth note or whatever add both sides set one two three forty and one side to three fifty that get your motion that will make them move between the speakers now someone said chain your kick and snare oh I don't really believe in chaining its kick and snare for something, this side chaining for me is used as an effect, it's great on keyboards things like that, you know, you use it for vocals to bypass things in the background, that's what the side chain is good for for the base of the kick, you have to decide where each one lives and then you will file one. in one place or dip the EQ in one place and it will make one thing stand out from another.

If I have a song with a lot of bass, it will probably have sixty hertz that will be accentuated at the base, while at the bottom. sorry on the kick drum no and a base your song has and the kick drum could be a hundred hertz it will be accentuated on the kick drum it's okay if you sidechain saying things like that I see this pump effect what you don't see You don't want you to mix the pump unless really look for that sound. Pumping is where your mixes sound like they're breathing now, if you can get things to really breathe in tempo it can actually be a great effect. it's the effect you're hearing and when the dam breaks, Andy John mixed it, as well as having the echo that's pretty much in sync with the song, also thanks and to Rafer for buying the book there.

I saw that I saw that Beato's book is on sale, like I said, 20% off, RB 108 is the code when you buy it, put it here that you bought it and I'll give you a shout out like Andre, that was great, I really appreciate it. If you buy anything in my store here, buy a mug with the harmonic minor scale or melodic minor boom modes, so don't look for side chaining to get your bass and kick to have the separation that comes from your sound and how you re sculpted, okay, you shouldn't end up with that, the other thing that affects that is the release of your bus compressor.

Okay, back in the old days we had, you know if you're mixing through a console, if I was missing mixing through an SSL and On a G Plus, most people will use auto release, which depends on the program, but you can very easily use one of the presets that has five positions with the release and the attack, I think five or six. and you can adjust it until it works with the tempo of the song, okay, because that's very important, you guys need to set your bus compressor to the appropriate setting. Now people I've seen like Andy Wallace for example sometimes sell go+ 8db in imitation compression. they pose tremendous compression, some people are very light on the mix bus compressor that I worked with with Ben Gross, who maybe only goes to 2 dB, okay, but he has compressors on almost every track, you know, some guys They'll really make it, but she once again.

What you don't want to do is you don't want to run into a brick wall that limits your mix. You have to leave room for the mastering engineer to do something. Okay, so let me talk about a couple more things here, so the move. and images are incredibly important. anyone who uses the vocal writer. I have used the Volga writer before. Well, your monitor speakers, this is another very important thing about your mixes. You have to have multiple monitoring sources, if possible. Someone just bought the book. I just saw it. Great, you have to have multiple sources, not just the stereo monitors you're using.

Normally I like to have three sources, so I have Aniston connected to a subwoofer and I have these things called events that the PS fixes that I've had for 18 years 19 years and then I have a little clock radio that I have an aux output connected to. I'll spend most of my time in my main mixes getting the bass right, okay, getting my panning and my EQs right. then I'll move on to the small speakers and do a lot of work. I'll pass it too. Sometimes I have an old Mac that has tiny ox-sized speakers as input.

I'll go to that, that's where. you judge your harmony where you can judge the lead vocal along with a snare, that's where you can judge whether you can hear the bass or not because normally, if you're listening through a small phone, people listen on phones that just do it and you have So keep that in mind, you can't hear things underneath, you know 300 Hertz on a phone, but you'll notice that when you actually hit that 300 Hertz on the bass or your bass, you'll hear it, okay? I'll also notice if you add distortion distortion will highlight things in the mix your snare your bass no matter the distortion it highlights things because it adds harmonic content ok it makes the waveforms more complex and it's easier to listen to and if not you believe it, all you need to do is take a sine wave with a sine wave generator app on your phone, turn it up as high, I mean saturation, distortion, overdrive, turn it up as loud as you can hear, it's okay with a sine wave once it arrives. at a certain height you'll go where you can't hear it anymore, it might be 16K, it might be 18K, whatever, if you get that high and you'll see the stylizer if you click on a square wave.

You'll hear it because of the type of wave it is and when you add distortion to things it works the same way, it makes it more audible. You should not take phones on the account. No, you should take phones into the account because you have Once you have all your equalizers and everything right, then you know what it sounds like and if you can't hear it on those things, those things will really bring out who it is, look up what that was here , thanks for everything, man, Tony. You're welcome, we appreciate it once you can hear things in there and realize that yes, a lot of the imperfections in your mix will come to light.

Now someone Mark just said what's up with the mix? in mono when you are listening to a small speaker that is five feet away from you you are listening in mono that is large that is mono every time you leave the field of where your speakers are where the throw of your speakers is you are listening in mono, okay, you don't have to check in mono, walk to the side of your speakers and listen to it in mono, you'll hear these kinds of anomalies, people don't listen in mono and things don't summed up that way, because you can really do some effects cool, you can make some really cool phase effects that would never work in mono, but since people don't listen in mono, you don't have to worry about that and I would never base anything on it. about that, that's something you would use mono to check if your microphones are in phase, which is really important.

I think there are very few things that mono is going to affect, because the only thing that going into effects mono is things that are multiplied, it could be a bass that has a DI and an amp that isn't even really, you still have some delay on that unless you delay the DI to align it and come out of the side next to the speakers, if you're wondering what it means for a microphone to be in phase, check out my video it's called phase, so walk to the side of the speakers speakers, listen to it and you'll start to notice imperfections, phase problems are checked when you're recording that's when you check things, I guess you know how to put things in phase when you get to when you're mixing, you're not normally going oh, is this in phase?

Is that in phase, right? you put things in phase you will record them your drums are in phase your rack tom is in phase with your snare your traps in phase with your overheads this is done when you are recording you don't wait to mix oh let me look at the phase in this, it's like you think there's people hanging around, you know, first of all, it only comes into play on multi-mic stuff, that's where phase gets affected, so I'll take on anyone with a mix where you just mix it in stereo, they you can mix it in mono, you'll hear your mix.

I mean, it's, you know, oh, I'm going to mix it in mono. You'll get the right phase to start with when you're recording it, okay? Next up uh there's a plugin that's really cool and it's called the magic a B. Does anyone know I've had this plugin for years? Magic a/b is made by a company called sample magic and it's great. Yes, yes, that is something myth-busting. H K, this is checking things out monkey. I'm going to make a video about anyone know about magic a be magic a/b is a plugin that is incredibly cool because with it you can contain nine mixes.

It will contain nine mixes and in each mix you can isolate the exact section of the song that you want to reference, so if it's just the chorus, the loudest part of the song, let's say you know what I really like. I really like the compression on this mix and it's Audioslave or something like that. I love the compression in this it has a

killer

sense, no, don't do it, it was their song about no, no, no, it's Cochise, no, you know. Sorry, I'm talking and it's cool, the compression in the mix is ​​very direct, so I would isolate that song if I'm making a song similar to that or whatever, I would isolate that section of the song and it would do it and it would show me live thank you freedom thank you very much you are showing me how to live I think so and the whole album sounds amazing so I would take it I would isolate it so that it allows you to loop just a small section of the song okay you also put it at the end of your chain, on your bus, on your master bus, okay, so let's say you have your compressor, you might have an equalizer after your compressor and then you have your magic. a/b or maybe you have two compressors in your mix bus.

Sometimes I would use two compressors. Used one in the old days. I used a multiband compressor and that would use the second compressor behind it to put the magic on. a B there you have nine melodies that you can make, you can take, you can make oh, this one is for country songs, this one is for brass, the other one is for rock, this one is for EDM and you will take the best

sounding

songs that you know you put on it . there and will keep those will keep those thingsthere the reason you put it at the end of your bus compression is so that it's not affected by the bus compression, that's fine and you can literally start your mix with one sound, then press B and it will go to whatever preset song you have. you have and it will play it, so it's a great way to do it, especially if you don't I don't have a lot of experience mixing, another thing I do is have a dedicated subwoofer, if you can afford it, that you can isolate the subwoofer from the main speakers, take the point crossover and will play only the subwoofer that is How can you tell if you are hearing some really weird stuff that is causing woofer excursion or causing mud in your mixer to suck power from your mix by listening to just the bass and seeing how other great ones sound mixes in the bass?

It will give you an idea of ​​what you have, what you have left over or what you are missing. Well, subwoofers are very important. They can be placed anywhere in the room. They really can, they really can, they really can be terribly worried. That thing about not having a space for it, mine is placed on the side but it fills the room, but the low and bass waves are very large, well, then this magical a/b I would invest in. I think I mean it's like 15 bucks for the plugin and it's a great plugin, bass compression or bus compression, I mean bus compression, I almost always use bus compression, almost all, no, not almost all mixers, all the mixers I've worked with have used bus compression. and wait a second, who is this guy?

Welcome to Europe. I don't know who this guy is. He's asking these ridiculous questions, which is why virtually every mixer I've ever worked with uses bus compression and puts it in from the beginning. of the mix, you know a bus compression, I mean a compressor on the master bus. No, bus compression should not be left for mastering. You can accept that your mastering engineer will basically determine how your mix sounds. There are no professional people, there are no professional mixers. Without a bus compressor, Bruce would consider that mix to be Michael Jackson. He would never use bus compression in the old days.

It's ridiculous that compression is part of the sound of your mixes, and people use it, whatever your mix is, whoever your mastering friend is. there is no eq and the mix bus is bad, that's another ridiculous mistake. All the mixers I know use eq on their mix bus, they just do it with any of the guys, you know, oh, they'll use something young here, you know, everyone uses it. Randy, stop that. worked with everyone is going through some kind of extra step of some EQ, it might be a santech EQ, it might be a GM, something just adds a little bit, you know, maybe you put a little bit of 10k on it, maybe you put a little bit on it of 60.

Hertz on it, whatever you do, the best you can make it sound before you give it to the mastering compressor, but what you don't want to do is you don't want to crush it, you don't want to leave it where it is. where there is nothing they can do with it, don't put compression or limiting on the brick wall on the master bus, don't do that, you have to have movement in your mix, you have to have peaks and valleys, it shouldn't be flat when it goes to the max mastering engineer, how do you know if it's flat?

Because when you look at the wave to me, it looks like a straight line. You still want to see them and you want to see them. They are incredibly important. Team before? after the bus compressor, you know, I've done both, sometimes I don't do either, but most of the time I will. I'll usually EQ before the bus compressor, but usually I'll use a multiband compressor. I feel like you can isolate certain frequencies and I think yes, I think yes, you can use it in a softer way and then you can use it with it if you have a good EQ sign.

Nobody says if you have the EQ if you have the bus it will create phase, it doesn't create phase, it can change the phase, although it is not, it can create phase anomalies, right, you have to be careful, many people use correct stereo spreaders. I see stereo spreaders in the mix, but usually I do. I'm going to use any kind of diffusion effects like that. I will make them. I'll put them on things I think you'd like. If I have something that hits the same parts I want to have, I'll put it in those. the tracks specifically make them go outside of the you know, make them sound a little bit wider than they normally would sound.

I think that's something important. Why did I send your mix to the master? Rule 18 D, no, that's ridiculous, much higher than that, no. I would never send any of that silence to the mastering engineer. It's ridiculous to make the thing sound as close as possible. Well, number one. If you're working with a professional band, they'll want to hear things that go through a limiter, no. 18 DB not right Renzo, that's it: look, no, you don't want to mix that low volume, it's ridiculous, you leave some space for the mastering engineer, but you don't leave that much space, what's wrong?

SB minus six, that's probably a good rule. HK, that's right, that leaves too much space too if your mixes - E is you know - 18 DB when you're going to send it to the people - the band - the artist, whoever it is and you put a limiter on it. I'm going to change the mix traumatically because normally people want to hear those things, so let's see here, then the other thing is to find out what's really missing. You know, once you have your mix close, you want it to have. dynamic range from section to section and that can be a thing where you actually edit and reroute it through Pro Tools or whatever you're going to do, it all depends on how you've set up your mix. after the master bus fader, okay, now a lot of people would run it back through the board and actually turn up the choruses, okay, so they have more impact, so you do your runs in the song, that's the last thing You are doing. in your mix normally you do all your riding with your instruments, what you don't want is you don't want a static mix, you can't let things like compression do all the work, compression can't ride your guitars. up in the chorus they they can't create emotion like that you need to do this you need to have dynamics you have to ride your time fills you have to ride your crashes up and back if you're using acoustic drums those things are incredibly important in a dense mix the cymbals will go and disappear if you raise them and then pull them back try to ride things that disappear to the beat why do I put them on?

Why do I sound so hostile? I sound hostile I always sound like this you guys think I'm hostile to Sun I'll go in I'll ride every time Phil I'll write every crash I'll ride every Guitar I'll go up on the chorus I'll go up on the I I'll turn up the bass on the choruses that's how I sound thanks Tom I'll turn things up and then once I feel like I've got my mix really close, I'll go and upload the sections afterwards, okay? that my choruses are getting stronger in energy there I'm talking after the bus compressor I'll do it a lot I don't always do it I don't always do that what you don't want to do is you can' Don't just turn up these things if you're traveling on a compressor of bus, you mount things under Trax, that's fine and then you set up your bus compressor for that, but the real key is to put the dynamics into the performances because that's where it happens. don't wait to do things in the mix, it's like checking your phase in the mix, it's like bro, you check the face when you record the things they asked you when you check you don't wait until the mixing phase to make that storm Foxx, of nothing, Blessed, book, by the way, I'll mention it again while we're here.

RB 108 is the code, that's how I can make videos for this channel, literally, that's why. people buy my book or buy mugs, you can become a member of the B Auto Club and support me. I'm here because the B of I was able to take a week and do this, this is amazing and I'm going to spend the extra two days in Leipzig making my video on the box I'm making. Thanks H K, you are amazing. Do you choose specific parts of the arrangement to add to the mix? The classic team is never hostile, yes, okay, so there are different ones. types of that are hhk production techniques, there are two ways to create emotion in your mix, there is emotion that can be achieved when people play louder in their choruses, like you have your guitar where it isn't.

I'm telling you things, they have dynamic range or let's say you're playing a keyboard part, okay, you go into the choruses and you turn up the volume fader or you use an expression pedal to increase the volume as the course progresses and you increase it , you do the same. you would do that on a b3 organ that has a volume control, for that reason it has a pedal because you can't play with dynamics if you don't have that, so, you do things through performance or you do what I call additive production Additive production is when you add things to make the chorus sound exciting.

I'll tell you what HK, it's funny because a lot of times I would mix most of the stuff I produced, but I get hired to mix stuff and sometimes I get hired by people who really, you know, maybe would have produced tracks or not as well, so what? do? I let the thing sound like they had it again or add parts when I'm at it. mixing and of course you know what the answer is. I always add parts when I'm mixing, I add volume seduction elements because, you know, people add filler and people don't know everything.

I had guitar parts in the chorus because it's necessary. and they realized that he had done it, they just know that he is like a man who makes incredible sounds. I've recorded about ten parts of the song, you know, and there are some producers who will actually add parts of things that I know. They are famous producers who worked on famous tracks in the mix when the band wasn't there. I added parts, that's just a fact of life. Go watch my video on Simon and Garfunkel's and they produced it after the band broke up. three sessions for the session musicians to come in and do it to come in and play, that's the one you hear and that's why they are a successful decision Chad Blake is not a citizen, no one says I talked to Chad Blake about it and I Don't believe That this is a secret, if it is, I will tell you that on the Black Keys album, the first one he mixed and added samples to, he said that each song had 10 to 12 tracks. was recorded in Muscle Shoals and he said they cut the really dead, really dead drum sound, so he added samples to it, put a distortion on it, did all this and the band loved it and there's no secrecy policy, Martin, but you can that there was a secret with Chad telling me this, even though I didn't.

Chad told me this and he barely knew me and the band loved it. They said for him to do more and add more. Nee added more distortion, but the drums have samples. this sounds totally organic and it doesn't matter what you do all that matters is what effect it has on the listener if it sounds good if it's like it's analog and it sounds

killer

rick seems more confident than he shrinks ok magic a beer, Enzo. He weighs 49 pounds, is that really that much now? Well, it used to cost about 15 dollars. Sorry, but it's worth spending the money.

Did George Martin contribute much to the Beatles? Of course. He played roles there. He added arrangements. Come on. George Martin. was the fifth Beatle, you owe him your elf oh, sorry, your expenses are something, I was someone else, okay, sorry, mix, record in 48 versus 96, 44 or 88, almost all the ones I've ever had, sir producer, I asked him and they always say 44, why does that sound so interesting? I have no idea, it's just incredibly interesting, it's like adding hair extensions your way instead of exactly wearing a wig. I like that Julie, that's good, that's good, where can you find analog gear somewhere?

The real question for 430 vs. 432 someone just bought the book just sold another EQ Tips please I have a full video on EQ. It should be Q material, but it's hard to do. You can make generalizations about EQ, but unless you really listen to the tracks or the instrument, I can tell things. cut like an analog piece and an acoustic instrument like a Tom, if you want to make toms sound like they're not made of paper, you'll take away the midrange like 400 Hertz. 500 Hertz there, suddenly, boom. They start to sound like real instruments, you know, those are those are those are things that are generalizations that you can make, you know, I told you that you know, powering up to 300 or so, you're going to be able to get it right, you're going to be able to hear things on your computer. laptop, I'm talking about Rick said compress the mix bus, that's right, I said that, okay, that's good, I don't want to go on too long, we're 54 minutes in here, there's a lot of information in this get the B from the book sign up at the Blessed Club, that's the soul of that's how I mean, then he'll make the video one eight twenty percent off anything, try what's up, that's how I make a living so I can come here, the B Auto Club is like that, so leave the questions here and I'll give you the thumbs up.

Don't forget to give it the thumbs up. I don't know if that makes a difference, I actually think. Yes, I think it's important to know how to upload the video, click like, leave a comment. Comments are huge, the more interaction there is between you and me, it's not. About this, come back to it and leave a comment, you know, leave any thoughts you have, those videos arethey post more, you know, share it with people, be 108 be, auto reserve, when are we going to start a game battle? Probably soon you know with all my free time I will make a gaming channel you are the best thank you very much see you tomorrow I have a new video coming out tomorrow