All things music production. How-To Videos, product reviews, rants and raves.
Chris Baseford is a Canadian born producer, engineer, & mixer that has worked with some of the top names in the music world such as Nickelback, Shinedown, Rob Zombie, Tommy Lee/Motley Crue, Avril Lavigne and several world-renowned producers and songwriters.
WOW CB! Such a great d e e p dive! Damm those Armory tracks sound great! I was A/B'ing the older version of this song for reference & it sounds like preproduction compared to what you guys were able to get out of it now! So interesting on your workflow ITB! I always learn things that i would never think about in how you mix. The tools,routing, all of it! Super cool!
Many years ago I was a young part timer in Chandler Guitars, Kew Gardens, London. Gary Moore was in the demo room checking out amps and all of a sudden this divine and loud sound came from downstairs. I went downstairs to see what he was plugged into and it was a Line 6 Flextone Combo.
Hi everyone, I found the solution! Basically, EA only commits or renders properly if you first switch the EA on the track to rendered processing first! Then it commits perfectly - you can test it by inserting a trim plugin, inverting the phase and playing both tracks together in solo - you should hear nothing. However, this does mean that as long as you are listening to real-time processing, then you can't fully trust what you're hearing.
Please do, and let me know what you find! I've opened a case with AVID too, as I believe this is completely unacceptable given how much the subscription costs. And after 7 years non-the-less! For now, the only reliable way to apply warping (unless in rhythmic mode) seems to be to use rendered rather than real-time processing, but that in itself isn't really a solution as it's a nightmare. every time you click anything (analysis or warp markers) then pro tools quickly flips to real-time view visually so it's really impossible to get anything in the "right" place...
Has anyone found a solution to this? It's still happening 7 years later. It's definitely an audio problem as rendered tracks don;t null. I've searched everywhere for a solution but can't fid one. This happened to me in projects without tempo changes as well.
For those of us who don't have Pro Tools, Nembrini Audio makes a couple of KILLER Sansamp emulations. There is also a free one from TSE Audio called BOD that's pretty good.
Can I have here, as it''s still the newest video, a recording question? Like 99% PROs don't use any compression on heavy guitars, but how about clean/crunch ones? Would You use something in the recording stage? If so, then what that would be? LA-3A, or You would recomend something else? Thanks for all the tips!
Every time I see someone explain Pro Tools routing, I'm reminded that it's the most backwards DAW in existence. Every other DAW treats auxes and inputs and outputs so much more simply and intuitively.
@@rome8180 interesting observation! I actually find ProTools to make the most sense to me, but probably because of my dinosaur era background on consoles, tape machines and patch bays. Now I haven’t really used a ton of other DAWS frequently, but ProTools is kinda built on the “mimic the physical, analog world, but in the box” concept which isn’t really necessary for most people anymore. But to me, it makes the most sense. Which then brings up the wonderful fact that nowadays there’s truly a DAW for everyone based on their preferences.
Thank you so much for doing these livestreams, Chris!😊Man, this was a masterclass - and all for free!🙏 A super catchy song too, and that little slide guitar orchestra was just beautiful. I hope you and your family are settling down safely in Nashville. And thank you for all the great music you've mixed and produced! All the best from your buddy from Norway 🎸🎶 Here's helping a brother out: Start 0:00:00 Session Start 0:13:00 Loop 0:17:00 Guitar Layers 0:18:00 Drums 0:26:50 Parallell Compression 1:06:15 Saturation Layers 1:24:15 Q&A 1:29:30 ROOT BEER TIME!:) 1:33:40 Bass 1:36:50 Guitars A 1:46:40 Guitars B 2:00:37 Keyboards 2:07:05 Vocals 2:10:00 FXs 2:28:23 Mixbus 2:30:12 Q&A 2:38:00
@@roetbomb exactly.. until I have everything the way I want (parts, velocities, kits, one-shots, etc.). Then I’ll break out my “real” kit (superior) into the multi-outs and print / commit everything to audio.
I'm sure this is great, but I find the color scheme impossible to look at. All the tracks being grayish black is extremely confusing. It doesn't help that you never zoom in.
Hey Chris! Glad you're back and that your move to Nashville went well. This was one awesome episode! Thank you so much for sharing all these gold nuggets. Looking forward to the next episode.
That's an interesting way of doing it. Mine is pretty much the opposite. I have some idea of what I want the drum sounds to be and try to start with that. If I run into trouble I can add stuff and search around for solutions later on. Do you plan on a lot of experimentation for getting drum sounds? I feel like most people have some favorites they always go to.
Hey Chris, could you do a session explaining how to edit vocals? I have read the pros always automate the gain and do stuff like that, but it would be nice to see it in depth, (comping, editing, tuning, automation, …) thanks a lot
Chris, you can view both of the multi-mono L and R settings at the same time. In the plugin window, unlink them as you did in the video, then hold "option" and click on the "L" that's right below the link button. It will open a second plugin window with the right-side settings. I Hope this helps!
I feel like simplicity is what makes a good mix. I feel so much is lost in recording a great artist first and capturing it well. Then EDITING so much of the actually fixing is in the editing not in the mix. After that stuff it’s just polishing that.
Hey, Chris. This is great info, and I am already messing around with the template to make it my own with the programs I have available. Question, instead of layering snares and kicks with multiple drum programs, do you ever layer within SD3? E.g., stacking a hyped snare on top of your natural base kit. One tip I wanted to share regarding CPU, (haven’t finished the video yet so forgive me if you already discussed), if you used cached loading in SD3 it only runs samples as you need them. Thanks again!
@@chrisbaseford yeah I use DRT or sometimes trigger. I haven't tried Superior because of the cost but if it's more accurate than DRT I'd seriously consider getting it. Thanks!
That can sometimes be a challenge. Most of the programs either have MIDI map presets or let you make your own. I'd suggest pick your "main" program and then alter the others to match it.
@@chrisbaseford thanks for the reply, great advice and channel! It’s a relief to watch and listen to someone who knows the production and gear, yet is also actually pragmatic. Ty
It's funny how you are blending drums to get a final tone... I'm not laughing at you but if Superior Drums doesn't sound good enough why use it? All those other drums blending together is a good idea however I have been checking out Superior drums and haven't pulled the trigger yet BECAUSE I found Krimh drums man... They have the "boomiest" hahaha tightest fullest clearest hahah whatever est I can think of to describe how Krimh Drums sound... They don't need all that extra stuff to sound like a real kit... Thats why I'm confused why more people don't know about it... Plus it was like 100 dollars or something compared to spending a thousand on Superior Drums and all the sound samples you have to buy just to get a variety of tone for drums!!!
One of the main reasons why I like to blend is to get something inherently unique. These days everyone has all the same tools and sounds when it comes to drum samples, but when you start to blend, the possibilities of sounds becomes infinite and even if only slightly, it creates something that can't be recalled in a Kontakt preset. All that being said, if you have found a better tool and a better workflow, by all means use it and disregard this. This is just the way I like to work! 🤘🏼🤘🏼
@@chrisbaseford I see what you are saying like I mentioned I just don't like the cost of superior drums they are outrageous!!!! I got EZ Bass man its awesome!!! EZ Keys too!! BUT I won't go any further than that! HAHAHAH What 399 for the basic drum kits and you have to buy the other sound samples just to get a pro sound in your type of music where Krimh Drums has that tone and they have several kit samples as well for a fraction of the cost...
@@chrisbaseford This! the statement "..to get something inherently unique. These days everyone has all the same tools and sounds..." is what is all about. I mean, i also struggle myself everyday to blend things in order to get unique sounds, even if I also use all those same tools. Hate sounding like everyone else, even if everyone else doesn't care at all. Music as become so trending and democratized (not saying it's bad) that every single new album from similar styles sounds all the same. It's really boring and annoying. So, much respect for you man! Keep posting valuable content Chris!!
@@PereRevert blending difference "canned" sources is a great way to make lots of different sounds unique: drum samples, synths, guitar amp plugins, etc.
@@chrisbaseford BTW if You would be so kind to "correct" for me one thing. When You've said that You did all nickleback guitars on San Quentin with the plugins/pedals/Fractals. I guess that You did a DI box into the DI input for some pre but I wonder if You did some, even bypass, tube pre/comp just for the wormth of the tubes to add it to the guitar sound or it wouldn't matter?
@@gutekzpoligonu I used the AxeFX III for DI (guitar plugged directly into it). I've used tons of other DI's... some alter the sound, some don't. Use your ears to determine. For me, it's not enough of a benefit to introduce another step in the chain.
Cool, thanks for the comment! If you want the less common explanation, check out the livestream in its entirety: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JJs0fx6cCu8.html
This technique can be used for any MIDI track. Sometimes I'll do this same thing when programming keys (have 1 track trigger several different plugins to get a unique "blended or mixed" sound).
@@davidcotestratton 50/50... but it's usually just a quick and easy flipping of the phase on whatever the problem is (kick, snare, etc.). Then save a preset so you only have to do it once.
HI SIR! Can I have a one question about recording guitars with plugin? You've said that on last Nickleback You've used all plugins and digitals (AXE FM, etc) so I can guess that it went like: GIT --> DI --> PRE --> CONSOLE does adding after pre like some (even on bypass) EQ/COMP hardware with tubes to "warm up" the sound MAKES ANY SENSE BY YOUR OPINION? Cheers from Poland and thanks for all the great insides on NAIL THE MIX!
Chris, I'm a huge fan of the CB4. Thanks for that. I'm gonna personally bug the ML team for the other sims. A VhT pitbull would be the bees titties. Or a Naylor, damn there's definitely a hole in the market there.
When was the heyday of guitar tones? I personally feel like that's right now. So many great guitars, amps, pedals, cabs, and plugins to craft amazing tones with.
I should have better defined that ;). I was referring to the era when most of what we reference today was originated (Hendrix, Van Halen, Metallica, etc)... with very few exceptions, most of "today's" tones are derivative or at least heavily inspired by. I'd have a hard time pointing to a guitar tone made popular in the last 10-20 years that has then gone on to change the sonic fingerprint moving forward. Probably Rectifiers in the late 90's early 2000's?? Beyond that, can't really say. But yes, today we have the best tools and access to information on how to use them!
