Started listening to this record on the way home from work earlier. It sounds absolutely killer. Would love to see you dive into many/any further sessions from this record, it's got that raw vibe because it was tracked live, so there's tons of energy. But it's mixed so well and there's great clarity, yet it's glued together brilliantly.
Hey Jordan, I've only been watching your videos for a few weeks and already I'm learning so much. I'm producing my own music at home and have already made leaps and bounds mixing my own stuff thanks to your tips. I love the track Said Enough by Emery. A deep dive into how you make the dynamics pop in that track would be awesome. Thank you so much for your videos.
JORDAN! Quick question: is SSL master bus compressor attack 10 or 30 ms on this particular song? Was it consistent for the whole record or did you touch it per-song? Thanks!
Great video! My question is after you spent tha first 6 hours to get things “dialed in” about how much time did your assistant spend on each song? Thanks so much for all the great content!!!
Thank you i loved this very much!!! Everything i've learned recently and it's great to reaffirm it via this great content. I've been doing stuff like the drum saturation towards the end of the song, so good to see you do that man it sounds so huge it's really a great plug on drums. - Comical PS: "In short get a very structured mix template and an assistant prep/pre mix!!" Lol! Joke aside, you absolutely killed it, well done!!
@@chelosegura all you’d need to do is automate the top end and sweep or duck with an eq every time when the tom is being struck. You can either use an eq or you can use a multiband compressor and put it into expand mode and drop the top end down to zero, so every time when the tom is struck, the compressor will open up the top end and then close back down (essentially a gate for the top end) takes some messing around but it works well.
So when you mixed the first song, did you save some presets/channel strip settings to use on the next song or did you start every song from scratch? Or does the „album sound“ mostly come from production anyway and you just, let’s say, EQ every song differently?
Every track on every song will be EQ’d and compressed more or less the same way, with some changes depending on the song. So every song will have the same sound, but more creative or flavorful effects will change from one song to the next. He has a template he uses to get himself started so that he has all the EQ and compression in the right spots, but will make adjustments appropriate for the recording and then save THAT as a template for the rest of the production.
If you're fixing something. Turning down something too loud or fixing certain parts of the vocal. I would do it by hand like a surgeon. If it's to add a vibe like riding the overheads. Ride the fader.
That's all cool but most studios don't have (or can't afford) someone that will do most of the work for them. I get it and it's a great idea, just not practical for most people. :(
It's practical. Say a band wants a record in two weeks. You have two options. Turn them down and miss out on the money and project or hire someone to help you so you don't miss out on the gig.
When discussing “creativity” it’s important that engineers keep in mind that their job is to capture and present the creativity presented by the writers and players. Mixing can be “creative” in that it can polish and enhance but the engineer who sees himself as the creative engine when he’s not an involved writer and /or musician is a potentially dangerous presence… in my humble opinion of course.
