Andrew Scheps Reveals His Mix Process 

This hit home for me too, was gonna comment the same thing

That’s essentially Taoism.

A solution looking for a problem

Except when you realize there was a problem and you can't re record the parts

He just said if it ain’t broke don’t fix it in a different way and he’s right. It’s basic common sense.

Those 2 sentences alone were worth the view.

@@pocket1684 Thanks for sharing your experience. Workflows can definitely vary since there's no correct way to do things and everything in music is subjective. I feel like sometimes I'm nervous to show other producers how I do things out of fear that they'll judge me or write me off as amateurish. So it's good to hear from people like you breaking the mold.

{As good as..]... A master like.. FTFY

Yeah but he also clarified that if it works for you then by all means do it in a reference to gain staging. He's right there's so many ways to affect gain on a DAW it's kind of ridiculous to act like gain staging is the only way to affect gain level's. You may have a good vocal track moderately with naturally good staging minus a few spikes. To lower the gain stage on that whole track would be ridiculous. Why not just adjust the volume curve in those few sections or slap a limiter on it?

@@gerimayawhyte154 It's of course not the only way to affect the gain, but it's a really really good starting point. Especially with digital equipment you can run into some serious problem if your levels are off the chart. I really see no reason why you should not gain stage. It does not mean your mix will magically be great, but it will probably save you from some headache later on while mixing. When you know the rules, then feel free to break them if it suits you. But, then you will know about the pit falls. To just follow your intuition is the worst advice you can give someone without experience. Some might be that talented that they can just follow their gut feeling, but most people are not...

Kind of bad advice for perfectionists though lol

@@Christopher-md7tf Trust me 🤣

Yeah until you play it in your car 😂 you practice that and see how depressed you get

@@jzilla_grudgegang I feel you! I made peace with this when I realized most car stereos just suck and even high-level mixes sound like crap on them.

I just started and i guess im going through a weird stage cause everything sounds better on other speakers. I am only mixing my own music though

Spot-on!

I think the word is: pragmatic.

@@PendelSteven Oxford English Dictionary: "pragmatic: dealing with things on practical rather than theoretical considerations." First synonym listed: "practical."

​@@PendelSteven this video was made for you :)

Exactly. Especially in music, everything is subjective to the ears listening to it. Every engineer has their preferences as to what they want to hear in the end product. You just have to balance what sounds good with volume, as opposed to maxing everything and making it sound essentially mono coming out of two speakers. Which is, unfortunately, the way a lot of modern producers do things. Essentially, listen to what has been forwarded and find a way to bring the best out of it. I think the biggest issue facing modern music is the true lack of care for each product. Where studios are now dealing in volume and not quality. Which is what separates the great producers from the not so great. The best thing any new producer can do is take advice from both present and past producers and find your way in between all of that information. Because the best of what you were going to do is going to come from experience and your own ears. Essentially, your end goal is always going to be to reproduced the best of what you’ve ever done. Which is very tough, because the sound coming from every musicians instrument is going to be different from the one before. The same thing with vocals. Which is where the experience of knowing what to do in different situation becomes very apparent. When I hear a very large Stereophonics soundstage in a recording, it makes me all giddy inside. Because it’s almost like listening to surroundsound out of two speakers. As opposed to listening to something that’s loud and has a very limited almost mono sounding feel. For which, my ears get tired really quick listening to them. The best songs I’ve ever heard are those that hide little nuances, that you’ve never heard before even though you’ve been listening to it for 20+ years. Essentially sounds that we’re waiting for technology to catch up to them, for your ears be able to hear them. And when you do, it’s like find a gold at the end of a rainbow. Which never gets old.

There isn't rules, but we are dealing with physics, and due to that certain things do matter. If you ignore certain rules it won't cut to vinyl very well, and in some cases not in a way that is even playable. Or phase issues might cause cancellation via summing to mono, which then won't work right for radio broadcast etc Many other things that could be listed. By all means break rules, but the physics matter

That said...for any job in life, you need the right tools to do it right. Sometimes that means a plug-in you didn't have before.

@@SixPieceSuits Agreed!

exactly

Wow you made a great point, and he has so much work to do, that there is no need to go through certain helpful routines, like bring down ever fader and start there, that is good for someone doing their own project or someone who doesn't have 100 mix to do each week. We need to be careful, some of those rules are good......

typical jew, Andrew did nothing special, all engineers do the same thing, he is who you know cause he sucked c0ck and got to mix famous bands

Glad you enjoyed watching Mark

We just uploaded another Andrew Scheps interview that you may be interested in. Thanks for your support!

Joe Meek