5 GAME-CHANGING Techniques from JAYCEN JOSHUA 🔥 

Thank you so much for taking the time to clarify 🙏

@@3volvemusic 🤗

Thank you for sharing your insights. While I appreciate your perspective, there are a few points I'd like to address: -It's intriguing to consider how transients were perceived as challenges in the analog era, with amplifying them not being a common practice at the time. -I completely agree that simply increasing transients doesn't automatically result in better sound quality. It's an essential aspect to consider during mixing, and exaggerating anything could indeed lead to issues. -Regarding kick length, extending it can prove beneficial in scenarios where increasing volume isn't an option, and after trying various EQ/compression techniques or layering. This approach aligns with the concept of creating a perceived sustained sound that appears larger to the ear. I'm also interested in delving deeper into your concept of "Longer kick is better only when you have space for it, when it's tuned (roughly)". Specifically, I'm curious about how this concept aligns with the practice of side chaining the kick and bass in specific areas. It seems contradictory to suggest that there's no room when employing side chaining, which typically aims to create sonic space for both elements within the mix. Could you elaborate further on this?

@@yeckxo I'm not sure how you came to the conclusion that transients were perceived as challenges in the analog era. They had the tape, that's basically a clipper. It would be impossible to amplify transients pre 1998 as there were no tools to do that in the analog era. The first transient designer was born in 1998. Up until then, you would have to manually manipulate the audio file. As for your question, as with everything in mixing, there's never a simple single answer. Like when people ask me what's the magic trick to make your record loud... there's no magic trick, it's the collection of small things that lets you be loud in the end. So I'll try and keep it short. Sidechaining has limitations. As you can use sidechain signal to trigger and attenuate level or even EQ (Soothe2 way) from your bass when the kick does something, that takes a lot away from the bass. Don't forget, your track named "bass" is named bass because that's its job. To be the bass. If the kick who's job is to be the kick comes and tries to take away the job's bass without being properly educated in how to be a bass, then you have problems. Say you are in a club. There's a lot of decay in that club, especially if you are in the back and especially on the low end. If your kick is long, that bass buildup in the back of the club + let's say a 1.5s RT60 would mean two things. 1. Your long kick will make everything sound terrible. You won't be able to hear anything else but the kick. Why do you think DJ's like Skrillex use short kicks? If there's anyone that knows how records sound in the clubs, it's DJ's. We should listen to them. :) 2. The more you go down in pitch, the more dissonant two close notes will sound if played together, regardless of they are in key or not. Play a perfect fifth C4 + G4 and it sounds great. Play that C1 + G1 or C0 + G0 and it will sound very bad. If your kick is not tuned, when it will meet a bass note that's a different pitch than the kick is doing, you'll feel it weird. And if you add up my point 1, with the reverb decay... then you are in for even more trouble. That's why tuning your kick helps, but up to a certain extent. Because if let's say you're in Cmin and you tune your kick to C, if your bass pattern plays C, A, F, G, only at one point in the progression the kick will be matched to the bass. But that doesn't mean you can just tune every kick differently for each chord, cause a kick should be stable, it's the one that keeps the rhythm going. Tune every kick and it will mess up with the listener. Unless if the kick IS your bass and then you can tune it for each chord. I actually had a client recently that had a dance record and came back with a note that the bass and kick sound dissonant. And that was surprising to hear as it was sounding great in my studio and my headphones. Especially after tuning his kick to the key of the song. Asked him if he can hear the same issue on his headphones, and it was good there. Turns out his room had a mode exactly where the kick was tuned and that created extra length for that specific frequency that overlapped with the perfectly sidechained bass in his environment. Now imagine if the kick was even longer what would've happened. That's why I advice everyone... make horizontal room for your bass if you bass needs room. Horizontal as in time, not as in level (sidechain). Always work on your bass in headphones as the low end response is not affected by the room and you get the cleanest representation of what's actually going on. See... not an easy answer. And that's just scratching the surface.

Yeah a lot of bro science here.

Thank you for the positive feedback.

My pleasure, I'm glad it was helpful.

Thank you for the positive feedback.

I'm glad it was helpful.

You're welcome man!

Thanks ;)

Yeah. it really sounds amazing.

I've got them from "stemsguys@gmail.com"

Hey! thanks for watching.

I isolated the early reflections and carefully considered their role within the mix context. It became evident that maintaining these early reflections was crucial. However, if increasing their presence enhances the overall result, then amplifying them is warranted. This adjustment mirrors the exact setting employed by Jaycen Joshua.

The early reflections are at -24 so they are still there only not so audible. It gives more of a feeling than a 'hearing'

@@steppabanton9753 that's what we're trying to achieve. we only need to push the sound a bit further in the mix.

;)

It depends on the reverb bus volume. simply it would act like panning if you turn the reverb volume down.

Hey, thanks for the insightful input. It's interesting to note how transients were viewed as adversaries in the analog era, perhaps due to the challenges in handling them effectively. Amplifying transients wasn't a common practice back then. When you do amplify transients, it's crucial to manage them carefully, often involving processes like limiting or clipping. Without this management, the mix with amplified transients might sound unpleasant compared to one where transients weren't amplified but still underwent limiting or clipping.

yeah I didn't gain match but if you do it yourself, you can clearly hear the improvements.

I don't have that. also I don't recommend changing the producer's kick sample.

Hey! thank you for the kind words. I'm glad it was helpful.

Transients breathe life into songs, but it's essential to allow some of that vitality to be refined during the mixing/mastering process.

You are talking about peaks

Almost no difference, iZotope Alloy 2 just discontinued.

because I've been using this technique since 7 years ago I didn't know that iZotope Alloy 2 is discontinued at the moment. lol

Was thinking the same. Hard to listen to

😂😂😂😂😂😂

I used all the plugins mentioned in the video.

🤣🤣🤣

ai text to speech

Thank you for the positive feedback. I'm glad it was helpful.

that's the final destination.

We definitely aim to reduce the presence of certain transients, and employing a clipper could prove to be a viable solution for achieving this objective.

I'm your friend.

Taio Cruz song sounds like trash. No transients = No Life. we're not talking about translating well in all kind of speakers.

@@yeckxo lmao dude you realize that Serban mixed that song?

;)