Find why producer/engineer Andrew Scheps (Adele, Red Hot Chili Peppers, Hozier) went from mixing with hardware to mixing 100% in the box, and discover which plugins he prefers for compression, EQ and effects.
I love the way he puts things. "The two ends of the chain are really, really important, and then you just work you way to the middle." And I like that he doesn't try to deny the obvious: that in the box is ok. It might be different from out of the box, but if in the box had come first, people would be crying that out of the box is inferior. It's not better, it's not worse, it's just different. ☺️
Well he mixes in headphones so he wouldn't think its important. I think knowing what ur room and speakers sound like is far more important then any treatment or high end monitor
True, but getting a good sound strictly ITB is way harder than doing it on an average 16ch tape recorder and average console. Trust me I have worked on both for years. ITB still isn't 'there' yet
I completely agree with Andrew Scheps here. As a guy who learned, came up and worked for years in the age of consoles and tape, I can say with full confidence that I would NEVER want to go back to the old analog desk mixing workflow.For those of us who did work in this "old school" way, I think that often the nostalgia for those days, and remembering the sight of the big, "sexy' LF console in the control room, has at times clouded our memories as to what it was REALLY like. Certainly, utilizing great gear to TRACK with is vitally important, and if you want to use a console for that, then you should, if it's giving you the sound that you like...but there are LOTS of external preamp options available these days to get that "classic" sound of iconic analog desks without having to have the actual desk. Neve, SSL, API, Harrison and Trident preamps, compressors and EQ's are all available now in rack or 500 Series form, not to mention the other great sounding newer gear that's out there, too... Focusrite, Millennia, Grace, Great River, Apogee, RME... a long list of very nice ( and very affordable ) front-end analog gear. There are ALL kinds of great sounding external preamps, ( XFO, Tube, as well as tube-less and transformer-less models), compressors, limiters, EQ's, etc.,available now, that allow you to get the best quality you can going IN ... but once you do get the sound you like, and "print" it into your DAW, there's just no point in mixing OTB anymore, gang. Things ( and not small thing, either), like instant recall of mixes, the fact that the projects will play back sounding the exact same way every time, not having to tie-up a console on just one song/mix for a whole day ( or sometimes even days), the ability to quickly move between projects, loading them at any time (and in just minutes) without having to reset/null the entire console, re-patch all the OB gear, etc., (along with avoiding the inevitable maintenance/repair that consoles and cabling require ) are all absolutely crucial when you are working with multiple clients, or multiple songs. Track through the best gear you can, and then once ITB, stay there. Choose your plugs.. whatever you like the best, or feel gives you the sound and character you are looking for - it doesn't natter if it's Waves, Slate, UAD, Acoustica, Steinberg,etc., they all make great-sounding plugs for further sculpting of the sound. If it's the "tactile" feel for mixing that you desire, and you dislike working with a mouse or trackball, and you'd like to use actual faders and pots, then there are all kinds of DAW midi-control surface options available to provide that "feel". There's even touch screen systems out there, if that's something you desire. There's just no reason to look backwards anymore - to an antiquated workflow that's now out-dated and limiting in so many ways. IMHO, of course. ;)
100% true. But this assumes that you recorded everything yourself. What if you are sent something that wasn't recorded with any of those external pieces that you mentioned? Honestly, you have to A/B it to tell, and listeners obviously wont, but even if you track with good gear, the final ITB mix will not have the same vibe/emotion/mojo that mixing on a quality desk would. Especially something like an API or Neve.
Well said... and I agree. If a pro like Andrew says it’s true... then who am I to argue. But let us all not forget what these digital plug ins are modeled after. Also... let’s not forget we can’t afford them anyway... lol. Best wishes.😊👍
Well, working only with plugins is much easier, much cheaper and faster, but you don't really need any knowledge for it. You've got 40 raw tracks in the end, just experiment with some plugins over and that's it, no boundaries, no limitations, no randomness, you can always turn back, change anything... The song will probably end up sounding dead, because you have too many options to make and you will do so many things that you didn't even have to do. I'm talking about amateurs, who were never working with analog gear. It's kinda deceiving. From my experience, using analog components as much as you can and then finish with details in DAW works the best.
The thing that is lost to me is the ability to touch everything extremely quickly and manipulating at least two knobs/parmaters at the same time, against each other. While the old school analog system has the obvious drawbacks of maintenance, routing, undo, etc... Once much of that is managed (at high cost, and except undo), control is much faster and easier. I'm not quite sure any controller has really been able to equal hardware control just yet. Also, the chaos of analog distortion etc makes thing just blend much more easily and quicker. Sure there are work arounds... But I just remember thing in analog being quite instant. Slate has the raven, which seems really cool, but it's not the same as knobs... I haven't used it yet, but I would think it requires more of looking at a screen rather than working by ear. With knobs, you can more easily do it by feel, almost with you eye closed. Softube has its own controller, but it only focuses on one virtual device at a time, and switching between virtual devices takes some getting used to. Plus, it only works with their own plug-ins and UAD stuff... And on the UAD stuff, the know s don't match the gear /pugin screen/graphics, so that part of the personality is gone. Balancing between the EQ on a snare VS guitar or whatever at the same time and going between elements quickly is tricky. It seems to be more of a technical exercise than using a board as an instrument. On other controllers you can program knobs and stuff to do what you want them to control, but that's also its can of worms. While I still wouldn't trade it to go back, especially because of the cost, instant recall, etc., I wish this was improved. Sometimes speed of working with balance vs EQ vs compression etc is very desirable, also when you are trying to combat hearing fatigue which happens over time. Sure, with instant recall you can have half the battle done with your setup, but at the same time, it kind of becomes a bit of a crutch for people to work in a bit of a cookie cutter fashion, especially if the same engineer is doing the tracking and the mixing. Plusses and minuses to this. Anyway, if anyone would like to share their methods of more "physical" control, let me know!
I think people miss the point when they suggest he was 'paid' by Waves etc etc. Scheps can use ANY gear he likes and by the looks of it he uses Waves. He strikes me as a guy that would have nothing to do with the company - regardless of fee - if he didn't like the product. He actually says at one point that he DOESN'T like the sound of the plug's effect but likes running things through it flat. That's hardly a singing endorsement for Waves. Another thing that makes me giggle are the people condemning the Q10 (I've got one, use it all the time). The way I see it, Scheps must know what he's doing in the studio: if a Q10 is good enough for him, it's probably way too good for most of us leaving comments under the vid LOL
Just been watching a bunch of videos on OTB analogue summing and how it can really add depth, width, warmth to your mix... and now this...just goes to show!
Reminds me of what a producer at a commercial studio in Chicago once told me: “transducers in, transducers out-that’s the only gear that really matters anymore.” Mics, preamps, and monitors.
But all you really need is a few good preamps. Good ones start at about a thousand dollars a channel. That's within reach for most people. It's just that and good converters, which are also within reach. I have a Great River 2NV and an RME converter. In total, this probably cost me 3k. A small collection of microphones isn't hard to put together, since there are great mics in the 300 to 1000 dollar range. I guess if you were recording a band in a room and micing a drum kit, you'd need a lot more, but if you're just doing hip hop or whatever, that's all that's needed.
Cool video. I'd like to see more with Andrew. I particularly like that room. It gives me the idea to treat a room simply by installing curtain rods and hanging blackout curtains like that.
Hey Andrew I just want to say that you're great at explaining things and thank you you have helped me out so much and I've been following you for a while I just have a quick question what is the size of the monitor that is in the background Genelec? The bigger one
I love the virtual Fairchild, but I usually stick in on down later in my vocal chain, it wouldn't be my go to as the main compressor. I used it to just smooth out the chain at the end once in awhile.
The Waves 560 EQ, API 2500 the CLA Compressors , SSL E Strip and G Comp for drums and baselines hands down is their Best Plugin.....along with RVox...., Base Rider, and Vocal Rider..........these 10 plugins.....are really what Waves should be soley focused on improving, they would sale more of those as a $200 Package....but...they have to improve the Sonic Quality of all 10 of them in my opinion...that would catch waves up with Acustica Audio UAD and Plugin Alliance
I'm an "in the box" guy too. I get that some people love old desks and R2R tape machines, and that's fine, but the snide elitism that comes from some sections of the audio world that say it should be the ONLY way to record can get to fuck. If it sounds good and people are listening to the music then that's all that matters.
Yeah, basically you don't need the 30 foot trillion dollar console anymore... The game has officially changed!!!! He's probably got a couple of hardware mic preamps and maby a few compressors that are hardware, but that's what I would imagine he would need for the recording stuff. I'm aiming for my desk to look like his... Somewhat...
yes it is possible when you have 20k dollars or more, between analog summing and good convertitor...then the rack stuff on the desk is just for adornment
he doesn't use summing . He stated it before in other interviews . He doesn't want to go out of the digital domain until the very ensd . That's why he doesn't use analog inserts either
Would you so kind to educate a newbie as to what are your main plugins out of the box....name and manufacturers...........am a disabled vet on a fixed so would prefer not to play the trial and error game as many professionals want you to pay as they did.Pleasethanks, Ron
These guys can use plugins to mix ITB because the bands that send material to them usually record using high quality analog preamps, compressores, EQs, converters with good microphone/reamp technique. Then they mix the material with depth and warmth naturally, using plugins, and send to a Sterling Sound level studio with state of the art analog gear and knowledge to do the mastering of the mix track. In the other side we get an amazing CD with competitive quality in the industry. Otherwise if the tracking is low quality itb and the mastering is all itb as well the result is just not possible to be on the level of the big boys in the industry and the CD will sound too digital, fake and weak. No mixing technique can fix that.
@Pardus777 I should have used the word "album" instead, but some bands that I know still print CDs and Vinyls, there is still a small market of people that collect those, they sound with a higher quality than listening through spotify.
Till waves, does some minor over sampling, and at least 4 core, analog sampling, they will always sound cheaper than AA, UAD or PA, but the API Bundle is s Gem..........
"When you have a beard and hair-do like this, getting ready in the morning is a PROCESS. Something had to give. Now I mix solely in the box." - Andrew Scheps
PLEASE HAVE THEM SHOW DEMONSTRATIONS SO IT ISNT LIKE A PAID COMMERCIAL, HEARING HIM TALK ABOUT WHAT HE DOES WITH THEM IS GREAT BUT HAVING THE EXAMPLES THERE FOR VISUALS AND FOR HEARING TESTS ARE WAY MORE IMPORTANT THAN JUST SPEAKING HIGHLY OF A PRODUCT. SMART MARKETING THOUGH BECAUSE DOING IT THIS WAY LEAVES PEOPLE CURIOUS TO DO THAT THEMSELVES , POSSIBLY MAKING IT MORE LIKELY TO FOR THEM PURCHASE LOL
www.puremix.net/video/andrew-scheps-mixing-ziggy-marley-in-the-box.html That's a decent video of him doing a wakthrough from start to finish on a song which shows a variety of plugins and why he's using them. He also has the exact same song done all analogue, as well as walkthroughs on other songs. There are lots of demonstrations like that around. If you want demos of stuff don't go to a video of him talking about a topic, go to a demo video.
One can get good results using a DAW and stock plugins. It's not so much about what you use as to your skills to begin with. Everything else is just tools - salt, pepper and spices. If you are new or somewhat new to mixing, don't spend a bunch of money on plugins and gear. Spend time and some $$ on learning the craft. Focus on getting the best takes of the tracks first. Better takes = less mixing and processing. Then focus on EQ and compression. It's been said EQ and compression are 75% of the mix.
Great guy, but at the end nothing more than an advertising clip for Waves. Would love to see more independent videos with Andrew, not sponsored by Waves...
I think you watched too little. The overall attraction of ITB, now that the differences for mixing are negligible since just a few years, is the ability to instant recall. Andrew has commented on that aspect multiple times.
stupid coments below, to be like him you must to live like him, or in another way born to be a genius at work hahahaha yeah no shortcut here Andrew is born to be Andrew
