I'm not really synth guy..guitarist..tho I like trippy music...drum.n bass..dub. guitar music.folk.blues..reggae...all sorts... I like Mike tho... i like my weed....and well basically..I enjoy learning from him and well getting stoned while I do that...simple
I've been a working engineer for almost a decade now, I have learned so much from Dre that can apply to almost any genre of music mixing. He's really something special that I think most serious engineers can and should study. There are lots of engineers that you should study, and Dre should be in the top ten.
your videos are terribly edited, sound bad, and you use video so low quality no one can't even read the text in them. why should anyone pay you anything to get tips and presets from you when you're basically recycling other people's material? sorry but this feels like grifting.
Bob explained to me exactly how to use the Pultec while we were sitting in a studio at the end of a mix. Priceless info, and now with Pultec digital emulations, it works ITB!
The beatmaker secret is literally just to clip the DAW. they don't even do anything i would consider "mixing". everyone from Young Chop, DJ-L, Metro Boomin, Yamaica, all the way through to the UK Drill tripe. they all basically just clip their DAW. a big part of the sound is how the kicks overload the master and the sheer difference volume between it, the 808's/sub and everything else. they do use a lot of highpassing too to really thin things out, but it's the literal clipping of their crappy audio interfaces that gives that signature sound to Metro Boomin etc. if you want the kick to not sound all garbage and like a fart like it does in UK Drill, then just shelve the kick before you push it into the red in the summing buss There really is no secrets for this stuff at all. the drum kits they all use, Omnisphere, Nexus, Electra, and others are 99.9% of the sound. mixing doesn't even come into it They don't sidechain either. i've seen enough UK Drill sessions and some Trap to know that there isn't any real mixing going on. the biggest challenge for actual mix engineers like myself and other though is mimicking that sound without none of the crazy intermodulation from just overloading the crappy DAC etc. your mix will get rejected by them pretty quick if it doesn't resemble that overcooked sound IME
Dre's mixes haven't sounded good for years. he ditched this methodology just a bit before Compton. he's all Pro Tools now and has been for a long time. no SSL, no tape, no finished stereo mixes to DAT. not sure about the MPC, but given most of the people he has in his entourage crafting demos for em use things like EXS24, and Battery, i doubt it features much. his methods don't really translate all that well to an ITB environment. it's pretty clear from anything he mixed around the time of Compton and after which was bright and harsh and didn't have that bottom end thump he is known for. that usually comes from tape, and you really need to know your shit to get around the shortcomings of ITB to craft a sound like that. simply mimicking your original methodology wont get you there as there are pitfalls and road blocks in digital audio that don't allow to stumble upon some killer sound like you do when you are OTB with very elaborate patch bays of recording gear and fancy signal paths
@@knookieknook6057 Producer doesn't necessarily make beats. They lead the creative process to make the end product as good as possible. Rick Rubin is a good example.
Understanding the color and how converters played a huge role in how it went into digital, will help understand why the 1000s of dollars people spend on digital emulations of these hardware tools always fall short 😂
Another “secret” is that these albums weren’t made in a digital environment….digital music can’t even come close to the hardware inspired music of the past because it doesn’t have a limited space in a digital environment…..these albums were mixed and mastered at real studios with real hardware pumping sound through real equipment.
this pretty much sums up the entire video y’all… they used an asr-10 through a neve console then through tape. lol oh and they stacked their kick and snares.. 😅
He just followed what other engineers did in well equipped studios… they all used ssl compression, eq, preamps .. outboard and tape.. Dre’s records were loud and open sounding because the tempo was slow, the instruments were very sparse and there was a lot of space for the vocals to shine.. one thing the video left out which was crucial to the loudness was the lavry converter softclip which gives a loud saturated sound without the squashing a limiter does
Music production and the engineering side was so different back then from how it is now. Nowadays, entire albums can be tracked, mixed and mastered with such little gear, it almost looks like you nothing at all. It’s also sad to think we’ll never get more music that sounds the same as it did from this era. I have a soft spot for that sweet, warm, fuzzy sound that music once had.
Live music recorded on colourful Neve and mixed on transparent SSL. Rap music created on colourful 3000/1000 and mixed on transparent SSL. The same approach.
