Learn Mixing from Pro Mixer (2018)


is just a copy of one of my previous
videos if you already have watched this video just don’t watch it check for my
other videos bye guys finally today’s awesome video because we check in real
projects from my real students and today I’m not gonna check this
project before this video so you’re gonna see a natural way how I check
problems higher my decisions we’re gonna compete today with chris lord-alge you
the please to be somewhere close to him right so it’s possible absolutely our track Santa Monica track sounds Lance Marty it
sounds tighter it so I’m gonna change this mix now students mix the song after
some famous guy did it and this is how it sounds
this is famous guy my students my students did better don’t you think
you have this harsh upper mid range and highs digital click so something
something goes wrong here why I mean it’s feel pretty the same kind of sound
right so this gate is not effective and you keep only parts higher than the
threshold that what I’m looking for something which is not part of this key
nobody cares how it sounds in solo but my main decision based on the mix I’m
not gonna mess with those frequencies until a engaged subwoofer one of trick I
teach my students always after you do this technique after you hear these all
frequencies with plus 20 decibels yes they are not in phase after I align it
it will be fine sure more solid more focused one of the most kind of unique
topics because on the internet you really don’t have any information about
it I measured care elation between these
two audio waveforms and I check fundamental tone of the skip and bass guitar has this peak around 80
so it’s a fundamental tone of a bass but guys boost the same frequency 80 Hertz
on the kick that’s why kick and bass conflicting
with each other main probably purpose why they use limiter is just not to push
master plugins too much these high boost will never be felt like really high
boost because of you always kind of compensated with low boost fine-tuning
if you didn’t know that it’s a key in mixing because it’s not for kind of
change in your dynamic section it’s more about to really kind of glue together
everything when vocal doesn’t jump out of the mix a lot of people chasing after
kind of what kind of preset of this oil engineer how exactly you set up your EQ
or how exactly you set up your compressor it’s not real old engineering
real mix in real Audio Engineering is just knowing molecules of process
understanding techniques philosophy and approaches and then in real mixing you
can get a really tough sound and mix only when you really consider my
favorite approach I boosts lows with a pool tech do you think faithful tech we
do sounding great on this muffled key so that’s why you need to learn every bolt
of this machine you know you shouldn’t think just about like presets you
compress organic polish next part instead of kind of we’re allowing
transient to go through at least a little bit and then squeezing everything
together notice how snare punch here with
automatic release in Cebu fur can be an issue if you have
stereo filter low frequencies when I compare reference track and my track I
like my trade more but when I bring the same two tracks to some other studio and
when they have totally different speakers linear phase equalizer and I
would scoop mid-range a little bit to fix this fatness that’s it so this is
how I would do mastering in this case to fix some kind of a specific technical
problems with this recording and secondly q just to shape kind of overall
tone so let’s do a B comparison notice like 400 sounds darker consider that a
lot of small rooms or medium bedrooms where people can listen to your music
can have standing waves and all these resonances around frequencies between
100 and 200 so you should really think twice before boosting some frequency
around this range also I feel like this Sam sounds a little bit under water
because students didn’t do stride frequency 150 awful cut
I’m not gonna be using any saturation plugin because you know we exceed in
analog zero and you start to get like more saturation but you also gonna start
to have natural compression in this case you smooth out your transients and drums
can be not so punchy I’m gonna be using soft you cancel one controller pass big
crazy dream so I’m a professional audio engineer my
name is Andrew Solano I’ve been working in professional field for 10 years now
I’m leaving Canada for the last five years I am a teacher for really unique
mixin and music production course 80% of this course is about mixing and
mastering editing but also we have music write in sound design record in
amplifiers preamplifiers microphones recording techniques even music writing
an arrangement and post-production give us a professional broadcast engineer
radio producer for many years working for the biggest company in that region
where I’m from this course is known for my ability to teach and really really
top quality information and tricks and techniques great approach great
philosophy of mixing but the most important is homework shakin most
schools don’t allow you to choose your own projects to work on them teachers
never check your homeworks like checking different songs usually they prepare
some song they mix it and then they show you how to do that and when you start to
get into your own projects you’ll see that you really don’t know what to do
you know you do a lot of mistakes your track still don’t sound like reference
tracks and in our case when I check your homework I do it naturally I do it in
real time so I never check your projects before the class and today I’m not gonna
check this project before this video so you’re gonna see in natural way how I
check problems higher make decisions how I kind of struggle and fighting with
something but finally I get the best possible results and I challenge myself
even more because I always compare your project with the top sounding song ever
mixed by somebody from top 20 or the engineers and you’re on the safe side
because you pay monthly so you don’t have any risk to lose your money so it’s
great great course check it out and on the screen right now you see reviews
from my only one year of my students I teach in a couple of languages its
reviews from english-speaking guys we have many of them from really different
countries I’m even providing free trial class so you can send me a message I can
specify nuances if it works for you you add me in Skype
and you attempt one class for free to check how it works today I’m gonna show
you homework shakin part of my course I decided to choose two guys not from the
US you know so these two guys are from India they were great students they
graduated from my course already I hope they did great song if there will be
some mistakes we’re gonna correct today we also gonna compare with the reference
track so they’ve worked on this project together so let’s check it out a main
part probably this one great sound but wait a second we’re
gonna compare it with the reference track we’re gonna compete today with
chris lord-alge you considered like like the best mixing engineer probably of all
time or at least on the list of maybe five so today we’re gonna try to beat
Chris or they’ll cheer please to be somewhere close to him right so it’s
possible absolutely so this is our overhead track what I
hear in every track I hear instruments I hear some strings
it was live session musicians played together that’s why you gotta hear all
these peels from instrument to the other microphone so that’s why probably as you
can see we don’t have a room track because those room microphones can
capture guitars and vocals as loud as drums let’s say so we’re gonna hear
original room of this recording naturally going through all tracks
okay let’s compare how our track sounds two reference tracks so the reference
track is Santa Monica by theory of a deadman Crystal Dale just makes one of
the greatest reference tracks because it sounds bright and it sounds tight and
clear but not harsh and not too bright not too kind of annoying using many
different monitors some monitors brighter some monitors giving you a lot
of meat information when it sounds like Bach see a lot of reference tracks don’t
survive and this track survived now to the website I have three monitors you
see only one and I also have sub woofer on the floor but I don’t have the sub
woofer engaged for this moment as you can see my students already mastered
track so we have plugins on the master bus we can consider it like mastering
right so it’s a compression as I can see grammar tape we have iZotope ozone and
we have limiter al to from waves so this is Santa Monica song with nothing on the
master buss so it’s a fully kind of prepared mastered song you think I wouldn’t notice our track Santa Monica she feels my bed gas you think
our track of course in our track in that moment we don’t have woke up but you
anyway can kind of feel how it sounds volume dynamics you can hear stereo
field you can hear depth of a mix right so we have layering over here definitely
in terms of mistakes I instantly here I would say Santa Monica track sounds
Lance Marty it sounds tighter it has kind of less
low mid-range basically so we have a little bit muddy drums kick also can be
a little bit tightened up a little bit I’m gonna show you how I can do it so
I’m gonna change this mix now to bring it closer to Santa Monica song but
honestly it’s pretty great job but at the same time let me show you the second
reference track it was mixed by somebody famous I really don’t know who was the
mixer of this song students mix this song after some famous guy did it and
this is how it sounds this is famous guy my students my students did better don’t you think
in terms of mindedness let’s say our students did a little bit mightier drums
but in terms of clarity and like smoothness and like roundness of our mix
of this mix is better it sounds smoother it’s easier to listen to it sounds more
pleasant famous guy did a little bit harsh upper mid-range a little bit
flatter depths on my mix I don’t hear in famous guys mix I don’t feel that depth
you know everything just sounds more ambient you know like everything like
far far away from me from a listener kind of and like staying on the flat
line while our students created like more depth something like really close
to me something like far away from me so it has like more 3d feel in it right so something like further away but
something like closer to me as well but actually I’d say our students could do
it even better you know to make like absolutely amazing mix when something
just like in front of you and something like far away just imagine a listener
who lives in the world of your sound it’s just cool when you feel like that
music doesn’t sound like aside from you you know but when you engaged when you
integrate it all the sound when instruments like working around you but
I’d say our students beat this famous guy because mix of this famous guy
it’s like putting reverb on everything in your mix you know to make everything
like more further away sound and you’re not so engaged and you have this harsh
upper mid-range and highs snare sounds like noisy you know like really kind of
shimmering highs like too much of it wael our students did pretty smooth and
like nice upper mid-range and top-end also alike in their mix contrast you
know you really kind of can separate instruments from each other you know
when it’s like contrast let’s quickly check some part with the walk oh okay
it’s not a Monica song kids did steal wanna break them we got strength nowhere
oh my and reference track the same song mix by
famous guy some famous guy you know I don’t like these kind of noisier parts
of vocals and sibilance is when all this like prolonged by reverb you know it
sounds like more shimmering like noisier room because of that you know it sounds
cheaper like a public washroom or something like that you know when all
these hard walls reflect in too much noise you know so it’s it’s a little bit
cheaper a little bit flatter definitely so our students did not bad job but
still you know some parts what we can improve so let’s start with the kick so
kick him kick out notice this kind of clicks really really quiet clicks don’t
forget by the way to watch this video using proper monitors or headphones but
anyway notice is like kind of really really quiet clicks something goes wrong
here you know like it’s like digital clicks when your waveform like cut you
know you have like let’s say raising waveform and suddenly it goes down to
infinity so you have this 90 degrees angles and it sounds like digital click
so something something goes wrong here why let me actually change the part I can
see they try to isolate kick from other drums this microphone anyway capture
sound of a snare or maybe cymbals and morale right so they use wave see one
gate in this case and probably this is what this track crazies kind of problem
and I don’t really feel like they filtered see I still hear Li pretty loud
snare why so without gate
I mean it feel pretty the same kind of sound right so this gate is not
effective so this is where our students didn’t do too great
so let’s improve it less let’s show them how to make it better so first of all I
hear this little clicks so for example this is infinity line it’s a full
silence right and it’s a time scale drums have this little click in the
beginning it’s higher frequencies less white waveform shorter it’s called
transient then you have main impulse which is also can be considered like
part of the transient but then you have like more stable tail and then like
fade-out right so this is how drum looks like a dynamic process are working with
the threshold this dotted line is like threshold everything lower than the
threshold will be filtered you basically kill all noise and you keep only parts
higher than the threshold so basically on my picture everything here and here
will be cut and drum will be short no noise no sound from a snare should be
there so it means they have to low threshold right
that’s why snare still going through this gate that’s why you hear snare so
snare stays somewhere over here basically and you also filters those
parts in the snare but some parts of this green waveform still exists that’s
why you still hear snare so they’re gate is not so effective another problem with
their gate when you have this transition between silence to waveform you
should have a little bit of attack without attack totally you’re gonna have
this clicker part in some drums and some gates you still could go with really
short attack and it sounds okay but in our scenario seems like it doesn’t work
so let’s increase attack a little bit and in this case we should fix this
problem so attack as you can see over here is the lowest 0.01 millisecond
which is 10 microseconds so you increase the tag again I understand that the
shorter attack the better so I don’t try to make a tag too long I try to keep it
really really sure that a little bit more smooth in transition ok and to
filter this snare seems like we have no choice we should bring trash on higher
but in this case use again start to hear all this clicks because it again you
need to increase the tag right so it’s a conflict of interests you kind of try to
preserve original kick but at the same time you cannot filter a snare if you
want to filter a snare you not gonna preserve your original kick right for
this purpose I would recommend to change the gate I have this video on my channel
called revolutionary mixing technique or something like that
check her out I’m not gonna explain the whole thing now but main ID is next when
your threshold is fairly high you can akhil all transient all clicky and
punchy part of little bright upper mid-range a kind of attack of your drum
so what you need to do you need to trigger your gate earlier in this song
we don’t have trigger track right so trigger cannot open our gate earlier so
you can use this revolutionary technique or other wave gates with look-ahead
parameter look-ahead means your DW gonna count your audio in advance your DW
should have great delay compensation for this process I’m gonna be using this 5
filter gate attack is a little bit too long in this case I’m gonna have killed
punch it sounds nice right at least I hear only the kick right now I’m not
gonna go into details of all the settings you
sounds normal sounds not bad but to have this quick back to our signal I engage
look ahead perimeter and I set up 10 milliseconds unfortunately this plugin
doesn’t allow you to go more than 10 milliseconds and for me 10 milliseconds
can be not enough ok let’s check what they do next so on a kick in even
kicking sounds pretty boxing you know I as I can see they cut some frequencies
to probably to make this kind of boom enos like less existing but honestly I
don’t feel like they didn’t find proper frequencies for this case so let me to
do that you boost frequency all the way up you use pretty narrow bandwidth you
just sweep from lower frequency to higher frequency what I’m looking for in
this case I’m looking for resonances you know I’m not looking for just sounds I
don’t like of course I’m not going to like any of these actually settings
because every frequency will be exaggerated by 20 decibels right so
instead what I’m looking for something which is not part of this kick when I
going through the 60 Hertz as you can see we have like a lot of boom but the
question is if it’s a problem of this kick or not of course not you know it’s
obvious that it sounds so booming I’m looking for artificial frequencies kind
of roomy tone around 130 I’m trying to remember some numbers I didn’t like they
pretty properly found the frequency of boxiness it’s 640 so definitely it’s the
right choice but the problem is is just not effective filter when you have
filter with 10 Q of course you need to lower this frequency too much if I boost
this frequency 6 4 is definitely a right choice because it sounds like you know
like some artificial additional resonance to the drum also what I found
when I was sweeping through this range I found the same
problem around 500 550 so it’s not just 640 100 here slower but we still hear
this problem I’m gonna be cutting 600 I choose something in-between but I’m
gonna be using wider filter because I want to affect on all this range and I
cut just maybe 3 dB it will be enough with the foot wider filter actually it’s
not enough in this in this kick it seems like better to filter these frequencies
a lot you know of course I want to check in the mix because nobody cares how it
sounds in solo I tried in solo jazz I wanted to figure out what exactly going
on in this specific drum but my main decision based on the mix see it’s instantly much clearer it
doesn’t sound like cardboard box anymore actually still sounds a little bit my
second frequency as you remember I said was 130 right so kick kick sounds much
clearer now second kick the same boxy really boxy sound let’s filter it as
well actually I don’t even care about frequencies lower than 70 in this case
because it’s a part of a kick sound I’m not gonna mess with those frequencies
until I engaged subwoofer this time is 116 really awful so I cut 160 a little
bit but this is not what I’m looking for honestly speaking honestly now I’m
looking for frequencies around low mid-range and let’s say mid mid range sometimes when you don’t have trained
ears you don’t know exactly what you listen to on my course we learn in like
really deeply I believe one of the best topics I call it masterpiece on my
course it’s an EQ topic you’re in like 12 classes or so we’re covering all
little nuances all known tricks we have triple approach we learn chart of
parameters we learn how to listen to we have like ear training now I just don’t
have too much time in this video just to concentrate on it one of trick I teach
my students always after you do this technique after you hear this all
frequencies with plus 20 decibels if you just gonna bring this point down to
normal position it’s instantly gonna be sounding great without this kind of
boost it’s already sounds normal right so how you can figure out how much to
cut if it’s already sounds much better than it was with past one in decibels
you need to give you some time you need to listen to the whole mix without EQ
and then with clear perspective you decide how much you cut so this is
reference track you know in Santa Monica still still
tighter you know in our mix is like still too much but a mint in the cake as
you can see guys using over here as a cell channel strip they can boost wrong
frequencies over there they use a compressor which also can be wrong setup
first of all what I want to check if these two tracks cancel each other I
honestly don’t listen to me now I’m not gonna be explaining how to use at all I
just gonna count it you should understand in the purpose of this video
is just impossible to cover like every little parameter because video can be
like three hours and I need to make it at least you know like 30 minutes or 40
minutes maximum yes they are not in phase these two kick
tracks are not in phase after I aligned it it will be puncher more solid more
focused so kick out sounded like too late when two tracks out of phase it
means audio waveform of the first track go up and waveform of the second track
go down and if this track staying in the same position on the panorama which is
Center for the kick right they start to cancel each other so you can I have like
more bursts out more like ruined tone you know not so solid so I corrected
phase of the second track and it’s okay on my course we have phase topic with a
lot of hills and my own kind of invented tricks for all of you who can attend
this course it will be like one of the most kind of unique topics because on
the internet you really don’t have any information about it what I decided to
do I’m not gonna align phase now for one reason because I noticed when I align it
properly I need to readjust all settings my students done it’s not fair because
they mix it in a different way so I need to keep working on those things what
they did not how I totally redo it right because otherwise how they can learn you
know if I just kind of start to mix from the kind of from discourage but I’m
gonna show you what I mean you can see over here Kiki on kick out right time
alignment between them zero milliseconds and zero milliseconds in Cuba is over
here next to this o’clock sign you see zero zero notice how these two kicks
sound in like not fat right they sound like filtered like we’re losing low-end every time when you hear kick sound it
sounds tight right so it’s like filtering low-end if I set up 2.5
milliseconds the way for the lower track for the kick-out suddenly you’re gonna
hear much more button meant in the kick so this is how this second kick should
be set up it should be later because otherwise you combine two waveforms one
waveform go up other waveform go down and they cancel each other
only after I lion time for the second kick you start to have this buttom and I
measured Kerr elation between these two audio waveforms and only then I
understand how much I need and how I should set up but anyway i’m gonna be
using zero just because of you know still want to go with all settings my
student head because i want to see the kind of the whole picture what they kind
of trying to achieve over here it’s a little bit undefined first of all as you
can see they boosted ad Hertz and this is bass guitars and how they filtered
bass guitars they cut 80 Hertz okay let’s measure this kick without
equalizers actually let’s measure this kind of combined kick sound with a
frequency meter not using any plugin over here for this I’m gonna be using
any frequency meter you like let’s say I can go with let’s say iZotope ozone I
slowed down my meter and I check fundamental tone of this kick as you can
see is this point I put the mouse cursor over here and over here
at the bottom I can see where here the value right so this is it’s 58 Hertz so
guys didn’t find the right frequency for this low boost that’s why they kind of
boost in this gap where bass guitar mostly have this so this is bass guitar now I play by his guitar right and bass
guitar has this peak around 80 so it’s a fundamental tone of a bass but guys
boost the same frequency 80 Hertz on the kick that’s why I kick and bass
conflicting with each other right so we shouldn’t boost 80 Hertz on the kick
actually let’s change it so what I’m gonna be doing on a kick in this case
using SSL EQ I’m gonna be boosting 60 56 or 58 or 60 Hertz based on our measuring
it’s exactly what we need to boost in this case you have better contrast
between kick and the bass and finally you start to feel like this kick
otherwise it sounds a little bit muffled next thing this kick doesn’t have enough
punch enough cutting through the mix aspect so as you can see they try to
boost 5k but they do it low you know and kick because of that doesn’t have this
kind of cutting feel I raise this frequency up to plus 8 decibels as you
can see when it really starts to kind of to have this kind of punch but honestly kick doesn’t cut through
the mix at all I can see they use limiter over here main probably purpose
why they use limiter is just not to push master plugins too much so they kind of
polish transient maximum value maximum Peaks in this case but what you should
know about l/2 limiter l2 limiter doesn’t preserve your punch it’s like
really nice fat sound and limiter but if you really want to preserve punch it’s
not about that limiter so in this case I feel like this kick sounds even better
without this limiter you know I hear this kind of a boot and with the limiter
is just like oh you know doesn’t have this kind of a solid meets to soft you
know so I get rid of l2 see it so now it has it a little bit of kind of
more punch other thing what I will do with this kick I would find proper
frequency how I do it I do a B comparison instead of five I try three
and I do like five against three so this is five I do it in the mix because
honestly in soloq this kick is audible but in the mix is not so what’s the
point to check it in solo let’s check it in the mix honestly for me it doesn’t sound right
you know I kind of feel like it’s not enough there is a couple of combinations
you can have over here you know in in terms of equalizers it’s always like
this if you have like high boost and you have low boost and these high boost will
never be felt like really high boost because of you always kind of
compensated with low boost so I think maybe it’s just a little bit too much
for DB for this gig so I boost a little bit less maybe 2 DB only to make it
tighter it allow me to hear more upper mid-range ok so it seems like proper
idea but honestly you cannot really figure out how it sounds in the final
mix until you take a break until you finish all other instruments then you
probably need to revisit all your settings from the beginning it’s called
fine tuning fine tuning if you didn’t know that it’s a key in mixing because
just imagine you start mixing the project right any track in your mix
start mighty muffled undefined and clear no contrast no definition and you start
to process key you find some settings but it still sounds muffled because
every other instrument is muffled so that’s why you really don’t know if it’s
like finalized settings so you shouldn’t see too much on like starting point in
mixing you need to go further and then you can revisit some wrong settings
something like to smooth him out next transients of each kick maybe it’s a
master buss compressor so they use this a cell master buss 4000 and they use to
long release 1.2 seconds you should understand how long tail in compressor
works let me show you for example this is waveform of the finalized song it’s a
final song it’s like first part this part consists like kick sound bass note
working out hi-hat with the next part the next part
the next part so each part it’s some it’s about some combination of some
different instruments and you have also some kind of a more punchy parts in the
beginning and then tails in the end of those parts then you put the threshold
like this and compressor start to compress everything the main goal of SSL
master buss compressor usually considered like glue
tool you know it’s not for kind of change in your dynamic section it’s more
about to really kind of glue together everything when workout doesn’t jump out
of the mix a lot of people chasing after kind of oh my god
what kind of preset of this oil engineer how exactly you set up your reviewer how
exactly you set up your compressor it’s not real old engineering real mix in
real audio engineering is just knowing molecules of process you know
understanding techniques philosophy and approaches and then in real mixing you
can get a really top sound and mix only when you really consider nuances you
start to think okay what about my transient how much upper mid-range I
already have and then you only decide how much you need to boost or cut or you
don’t touch anything if you just copy somebody’s settings and then you apply
those kind of shaping tools on your absolutely different sounding
instruments comparing to that project where that guy created this preset
you’re gonna have totally awful combination sometimes your bass have
like over here right we have let’s say too much batiment in the kick it’s
really dead sounding kick we need to boost upper mid-range we need to boost
highs and somebody tells you my favorite approach i boosts lows with a pool tech
by 3 DB let’s say by 5 DB do you think fed pool tech will be sounding great on
this muffled kid absolutely not so that’s why you need to learn
fundamentals you need to learn every bolt of this machine you know you
shouldn’t think just about like presets and this is exactly what we do on our
course we go really deep in every detail in every new ins of audio you

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