Hey Hugo, thanks for the effort. Positives: Lots of both principles and techniques that make sense in theory, and little bit of A/B comparison midway. Constructively, I feel like it was missing a gain-matched A/B at the end, and also that a practical contextual example could have really brought it home (and still could in a follow-up vid!). Without in-track-context examples of how the parallel processing (dynamic range reduction + harmonic enrichment) and also the blended parallel 76, helps it sit forward/above things that might otherwise mask it... Well, I didn't find it that compelling. So, that might be a great idea for a follow-up vid? (not sure if the rest of this track is available, or if you already had that planned, but hopefully!).
@@marshy_moo thanks for the feedback. I totally agree. Unfortunately the artist wasn’t happy for me to use this instrumental as it’s currently in demo phase. The lack of A-B was an oversight for sure. Definitely need feedback like this as it’s a new channel and would love to improve on each video
This misses the biggest part, which is using your ears to blend the compressors in different ratios, based on the song. Just randomly setting levels is "mixing with your eyes and not your ears."
Hey. Totally agree that mixing with your eyes is a dreadful error that many engineers fall into. I did explain at 8:31 in the video that this would be the time to start listening. I also discuss which compressors could be boosted depending on the results you need for your track. If you want to hear the full acapella feel free to visit my website www.studio32.live/mixing Click on vocals only metal example
@@hugohartley Already plugins on Vocal, Pre, and Chorus tracks. Then you made an AUX track for each plugin. So I mean do you need all plugins on 3 vocal tracks too?
@@gomahomeall vocal tracks have normal their own plugins, then the output of all vocal tracks gets sent to the no output track and through the Brauerize method
Yes all tracks need to be processed first. In my case the chorus is way louder than the verse so you need to make sure to lower the volume so it doesn’t overload the compressors in the Brauerize method
The technique is interesting to experiment with BUT you have missed showing how this technique works and affects the other vocal parts, the one with more aggressiveness and interact within the parts
@@danyavilaoficial if I’m honest, I planned to but the video would have been too long. You are quite right, the chorus vocal is more aggressive and requires some added processing. It’s also in a different register requiring different EQ
bro you shit blow the fk up of me.. So basically we run all audio throught all eq, compressor in all independent bus track, then adjust their volume like a parallel processing? 😮
The vocal has phase issues in this video. Also if you're doing a video about the technique, get the name of the engineer right, it Brauer, with an r after the B, not Bower.
@@MKD371 Thanks for the feedback. I realised the pronunciation mistake after the recording but made sure to spell it right at least. Regarding phase, I’m still coming to grips with the screen recording software but I assure you this technique sounds great on my end 👌
this seems like way too much work and too many aux tracks... why can't you just load up the compressors you enjoy and then mix the levels in properly in a single chain?!?
@@mckinleylust Hey, great question. The reason I use different aux tracks is to have more control over each compressor’s effect on the vocal. When they’re in series, you’re compressing an already-compressed signal, which can make things sound too squashed. In parallel, I can blend the compressors to get a more open, dynamic sound.
@@garethde-witt6433 feel free to check out the fully mixed acapella with backing vocals on my website www.studio32.live/mixing It’s the vocals only metal example
