Way too much energy in the lows, good you high passed it out. It's energy that reflects your whole song. I use it mostly on songs that are tracked from vinyl, where rumble is normal. I don't even have to listen for it. I use A/B all the time, but on my monitor bus, Reaper has that, there is also an SPL Hawkeye plugin and a phase meter on it.
So the fundamental element which is not covered in this video with regards to the Brauer comp technique, with regards to using multiple busses with different compressors, summing the audio, is that each compressor serves the different frequency ranges from the track elements. I.e, all the low end elements are tacked by one type of compressor, for example something like an opto comp, which handles low end better, and a Neve 3609, for the high end. The purpose of this is to not only let each buss sound unclenched, but mainly so each compressor is not effected by signals it does not need to be affected by, thus reducing the workload on each device. Also a key element of his technique is to use multi-mono compression, so the floor tom, for example, when hit hard, does not overpower the left channel of the compressor. The great thing about this overall concept is you can mix and match which compressors you would like on each bus. In a nutshell, the main takeaway is that each section of the 'orchestra', if you will, gets its own 2 buss treatment, reducing the strain on any one single unit. This provides an open sound which has depth and layers to it.
I have been using his system with some less than stellar multitracks and it makes the process so much faster. Instead of trying to fix shitty tracks with crazy eq curves the harmonic sum of all the chains and the way it enhances the groove helps iron out the deficiencies of the multitracks. So I would give the opposite advice if you are going to try it, mix with his exact system including the calibration of the compressors and when you have a feel of what is doing you can modified it or not use it at all. But his system is one when the sum of everything makes it work. I modified his template and added other busses for different genres and it’s a very good system
IDK how people follow this stuff. I got completely lost at the part where youre tlaking about separating the drums into tracks. Following closesly and still dont understand wtf im doing
Yes your not alone. Me as well. I purchased it and I'm still trying to download it. Once i do that I hope it shows up so I can open it in my daw. My electronic drums are out of commission so I am relying on my keyboards to pick it up through my midi. So confusing
Great, as usual! I've now gone through them all! I think there may be one missing, which is organs and maybe included with that is synth pads - or is that two wide a selection? Your videos, and the One-on-one class I took with you have made a huge difference for me - EQ'ing keeps getting easier and easier! Thank you!
To the point, practical, and infinitely usable. Far more so than any other youtube videos, as usual Martin! Thank you again!! You are a star and deserve ot be recognized as one.
Interesting point of view for top-down mixing. I am of the kind that thinks that we should use whatever works best for one. I've been mixing using top-down mixing ever since I started mixing and discovered the method. Today I work with a combination of the two methods. Top-down mixing in the initial state of the mix and then work on the individual channels when more in depth while mixing. I used to have processing on all my busses but not anymore. My process now goes: Gain staging session>Summing, bus compression, tape sound on mix bus>dealing with individual channels using channel strips and working on the groups only to do general i.e de-essing vocals, group limiting or saturation/compression but in small increments as it's been added beforehand on both the mix bus and the individual channels. So all in all, the best is to combine the two.
Nobody better out there for real, applicable, useful knowledge. Martin, you should put in your "More", above "In this video series my goal is..." a paragraph of who you are, your credits and experience, so people know you're not just another pseudo/wannabe YT poster.
The ONE reason I’m watching this video (correlation) and you say we don’t need it and just SKIP right over it lmao ARE U KIDDING ME - now I gotta go video hunting again Then you say on stereo separation, it won’t tell you if your mix is out of phase that’s what the correlation was for, but apparently you don’t know how to use it which I don’t either That’s why I’m trying to learn, but I know it’s for out of phase issues.
Hi Paul, you have to open a "multi output" instance of the plugin first. Then you have to open the mixer window, and click the super tiny "plus" (+) icon on the bottom of the channel strip on which you have SSD. This will only be possible in the mixer window. Click it as many times as needed, and Logic creates extra auxes for you to use. Then in the mixer window within the SSD plugin, you can select the outputs for each instrument. Let me know if this helps!
Watching these videos is like having a world class mixer sitting next to you in the studio and saying, "Ok, now... bass guitars (or whatever instrument)... here are the frequency ranges you want to watch out for... and of you want a particular tone, do this... oh, and after you cut the low end go after the highs, THEN look at the mids because what you do with the highs affects the mids... and by the way, get rid of problem resonances and harshness, then compress, then use another eq to shape the tone..." You simply couldn't have better, more useful knowledge, or get this kind of depth and detail from any course or any other videos out there.
I didn’t know from you until I found this video of yours and you explained very well detailed all the aspects that I also found in the Brauer videos. Exactly what you said it’s what I believe must be the goal of those videos. I think that more copying one to one what Brauer does, we must take the critical aspects, the structure and mentality to aboard the mix. At the end the best we can do is to find our own sound and method.
Great video. I’m primarily an acoustic player, and I record and mix a ton of acoustic guitar in the studio and live, and your point about song context is so important for all instruments really but especially for the acoustic guitar. Players are always so surprised about how little bass is needed from an acoustic guitar in a full band situation.
I agree with your opinion of top down mixing. I don't understand why people say you shouldn't eq while solo'd. Of course you listen to, and eq, an instrument that needs it, both solo'd and not solo'd. Even more importantly, you listen solo'd because now you don't have other instruments masking certain frequencies and hiding problems. Finally, my humble opinion is that if each instrument sounds really good (aka sounds the way you want it to sound) by itself, then getting instruments to blend (which, after all, IS the definition of a mix) is very much easier. Let's face it, that's the way it was done in the old days when they didn't have tons of tracks, tons of channels, and tons of processors - you got the instrument to sound good, you put the right mic on it the right distance away, and besides some compression, that was most of the work done. Now you just have to balance a number of great sounding instruments. Let's not forget that mixing engineers were originally called Balance Engineers!;-) Of course you can do some things top down and you adjust your mix bus periodically as sub-balances change, but I feel like the way we experience music emotionally should be paralleled by the way we mix - for pop music it's drums and bass, then get the guitars and keys to sit the way we want on top, then get the sweeteners to sit on top of that the way it feels best (horns, strings, percussion, fx), then get the vocals to sit on top of everything else, adjusting what's below as needed. Now we've got a good mix and we use the master bus to sweeten and massage it even more. or orchestral music, it isn't much different - bass and cellos and tympani first, then everything else moving up to the top.
It's been my opinion from the beginning of learning to mix on a DAW that the long experience working with real analog gear gives the mixers we look up to - including you, Martin! - a huge advantage in mixing ITB. Let's face it, a majority of the plugins out there are emulations of analog gear. Monsieur Brauer can reach for this plugin or that one and get it to sound the way he wants it to because he knows what the real thing sounds like, and if he can't get the plugin to sound exactly that way, he can (and does) just grab another one to get it all the way there. Let's also face this: whether it's the real thing or an emulation, experience using the tools we have available to us - long and repetitive experience - and having a good idea of the way we want things to sound - is what really gets us to where we want to go as mixers.
I was grooving on your great How to EQ series and stumbled across this video. I had no idea these virtual drums were this good, this flexible and useful. I've been a fan of the SSD's forever and prefer them to the other big boys by a mile, but I'm going to have to get Hertz Drums 2 (which includes the humanization option) and a couple of their sample kits. Thank you, as always, Martin!
Hey Perry, amazing, thanks for the great comment! Yes, SSD is awesome, but these guys are making something completely different yet very familiar. Definitely worth looking into it!
It IS pretty easy once you wrap your head around it and Martin - you make it so easy to do just that - NO one else out there in RU-vid land is delivering this kid of practical and useful info!.
Something I really like that you’re doing in these is showing examples from different levels of recorded quality. I haven’t seen that in other videos like this, it’s usually good or bad quality. I was able to take a couple of your tutorials to improve one of my current mixes. Keep it up! Subscribed.
Best walkthrough i’ve seen - I’m a music teacher myself and you present this material extremely well, balancing the thought process with the practical eq moves you’re making… awesome!
Great tips and tricks. Great way of illustrating how cutting one frequency can make another frequency come up in the mix (either for good or for bad). Looking forward to the rest of the series.
This series is awesome! So well explained and illustrated. I love how you take all the mysticism out of how things are equestrian. And repeating the process on multiple different recordings is so much more helpful than just showing us one pristine recording that we aren’t very likely to have in our day to day lives. Keep them coming!
Hi thank you so much for this great comment, this is exactly what I was going for! The next 4 videos are already scheduled, keep monitoring the channel ;) And of course if you'd like to have some private classes, hit me up! :)
Great video series. I take it that when you gate the snare you will likely emphasise the attack portion and gate the rest in order to minimise cymbal bleed? Thus taking the decay portion and air around it from the room mics and overheads?
Hi Hodd, yes, it is all recorded already, I am editing as I go, it will take a few weeks for all of the videos to be up. There will be about 20-24! And yes, my approach to drums is that the large portion of the tone comes from the room and overhead mics. However, this can change as well, in metal drums, or heavy genres in general, the main samples (they are always samples) play a much more crucial role. I'll have a video about that soon as well! Thank you for watching, and let me know if you are interested in any consulting or 1-to-1 training!
@@martinmixing Thank you Martin. Your videos are top of the list for concise practical information. Delivered perfectly! You would absolutely be the first person I'd contact ifI need any 1-to-1 training. I will see how I get on with my current project. Best regards, Stephen
