How Mixed by Ali Mixes Kicks, Bass, and 808s 

I have that exact same chair in my studio

Thanks!

We must keep this info on a hard drive broh too many secrets

ONG

Your comment made me subscribe

Im ngl bro all of his videos arent even him talking its endless clips usually pointless, look up alexmadeit bro he leaks audio school material, emails, bunch of shi

Glad it was helpful!

Happy to hear that!

Thanks

Yes this is true

The most useful channel on RU-vid for mixing at this point that's just fax

Appreciate it !

100% agree, still the best way to do it

Yeah, I tried this with Tokyo Dawn Nova dynamic EQ, but it was very subtle.

Facts it's all in how you do it plus he's using analog gear as well that analog warmth adds a different touch to your overall mix

I've also seen Ali in other videos using Soothe2 to sidechain.

Actually in trap the 808 is the lowest most of the times, not the kick.

Yes soundtoys makes timless plugins

Decapitator, the King of Aliasing.

@@ikehayes9252 is it audible though?

@@cbrooks0905 Compared to non-aliasing plugins, it's audible. Yes! Decapitator is good, but I like Neold Big Al more. It has a superb sound quality.

@@ikehayes9252, I don’t notice it. Maybe my ears aren’t tuned to it. I use over sampling over a lot of my other plugins, even though I literally can’t tell the difference. Regardless, there are tons of songs out with this plugin on it so it must not be too bad. I’m always looking for the best shit, though, so I’m going to check out that other plugin you mentioned.

Yea he uses it vocals too!

who would have

It's modeled after a preamp. They're used for amplifying a quiet mic signal to line level, but lots of analog preamps get distorted when the signal is hot enough. This is called preamp coloration. You can run whole mixes and busses through preamps to get some of their character

@@mojojojo9687 Smart can you get that same sound using NLS Busses/Channels by waves or the rbass?

@@DocKaosBeats No familiar w those wave plugs, but a channel strip will have a compressor, eq and some other things. They're analog modeled so basically they will give coloration. Rbass also give coloration, but specifically for the low frequencies. It's all just different flavors of coloration, so in a way yea they all do similar things. The thing is though with analog gear there's a little more to it since it's circuitry and physics. Some say it's accounted for in the plugin modelling, some say it can't be accurately replicated. Preamps often have transformers, which converts electric fields to magnetic fields and back again, which imparts its own sonic qualities. It also effects transients, which is measured through the slew rate. There's also hysteresis. Some say these qualities give a more "3D depth" to the music. If you don't know about this stuff yet then in a practical sense it doesn't matter. Analog emulations will probably satisfy you enough or you can eventually test stuff and find out. I have some analog preamps and I like what they do, but I'm not experienced enough to rlly compare.

@@mojojojo9687 Thanks for the reply and I noticed that plugins like UAD are probably the closest you're going to get when it comes to getting an analog sound I use Reaper mostly for mixing now sometimes I just use Fl studio but I only mix beats I don't mix full tracks but I do want to learn how one day

Fr

Analog filters have their own character which is based on how they distort. It's modeled after the moog ladder filter which is known for making a signal "fat". Yes, filter freak is also modeled after analog and they have a bunch of different models (fat, punch, squash, etc). Basically it's about how it distorts/saturates. Filter freak sounds great and the UAD moog probably has less aliasing.

Yea although I think he has every waves plugin

I wanna do manny but he has little no info out on him

Yea I have messed with that. I do still wish I had the real thing tho

@@georgetmusic Why would you want the "real thing", when Bark of Dog is actually better? It has more processing modes in the most recent version.

True

Not really. You can use VOG to boost the very low, use LA2A with slow attack and fast relase to shape the dynamics (more initial energy and attenuation of the decay) and use Decap to add some additional saturation.

@@ikehayes9252 I‘m saying in this case specifically…

how many did you count? Most of them weren't...

vog,multimoog, and the la2 were all uad

Tony Montana and Sugerey

@@georgetmusic thank you so much!!

@@georgetmusic ngl he really perfected the low end

As long as your keeping the low-end like below 180-200Hz in mono you should be fine! A lot of people split the frequencies and add stereo widening, saturation and even chorus on just the high end!

I recommend the 808 to be mono when mastering. When your receiving stems the producer was lazy and didn’t set it as mono but that will not matter because your going to mix the stems without master processing. Now if it’s just the mp3 that’s a different story

808 should not be in stereo, especially the low end. If you want to have stereo, you’ll need to duplicate it, add high end (saturation or distortion) and cut the low end, then stereo it.

@@jaimeventuraosorio1265 usually on popular tracks u can hear (i've also tested soloing sub on either channels) real sub bass in stereo. If the track is mixed correctly in stereo, bass and sub bass in stereo will not give any phasing or disturbances. imo it makes the track a lot more alive and tasty

@@vparenkin you’re super correct there is no reason you can’t have stereo bass it’s a common newbie misconception. And I’m not sure, but the above comments make me think there talking about a wav stem file that’s in a stereo track but it doesn’t mean there’s any stereo information in the bass

Auturis mini filter and biz bark of dog

Brainworx Sub Synth it’s free bro

yes

@@georgetmusic Thanks ! Do you know plugin like this one ?

@@edenkreyol bark of dog by boz

A lot of people use it in parallel. Bainz uses it in parallel and Ali sometimes uses it in parallel that might help

@@georgetmusic what does that mean “in parallel” and how can I do that in fl studio 😅

@@ARIOS44 you either send the copy of the originial signal to another track in a mixer by "send to this track" in FL and just blast full effect of a plugin and then just move the level fader down to have both signals playing at the same time one without an effect and one with the effect on but turned down in volume, or just have the plugin u have and turn the mix knob to your liking all on the same mixer channel. idk if i make sense, both ways its parallel which means u have some of the original signal without the effext and u mixing the effect into the raw unaffected signal

@@ARIOS44 there are two ways: -side chain a mixer track to another mixer track using the arrow at the bottom of the mixer track(that you want to have in parallel) -Put an instance of fruity send on an initial mixer track then repeat the sidechaining process(as mentioned above). Then you'll have to go on the fruity send plugin(that you had loaded previously and insert the track number you've routed it to)

If you ain't redlining you ain't headlining.

@@Skrenja well he is gain staging with vu meters , he doesn't go red , not at all , he just gain stages properly , resulting in him mixing perfectly ;)

You can try bark of dog by boz. I dont have uad either so I never really use to vog trick

George is right..bark of dog is dope.

no you re not giving up, the oppostite in fact . you re gaining up at your output . there is a huge diff when you are compressing a signal

Compression has a sound to it, I thought the same as you but just try out both and compare, you have to be real careful with compression on low end in general it can easily make things sound weak if you’re not careful

Sidechaining the 808 with the kick signal is still a valid approach. If your 808 bass and your kick are playing in the same frequency, there is no way around some sort of compromise. Ideally you adress this issue before it appears, by simply positioning 808 and kick in different "frequency pockets", which is the producer's / composer's job.

i think what ali is trying to teach here is the right mindset and know how. when you think of "issues" i think of harmony and it's dynamic range plus the producer's intention/vision . sound is not just frequencies (time) but space too

I think he meant he sidechains using EQ'ing as opposed to through a limiter. Sidechaining through an EQ with your drum bus and bass mix does give you further control of the amount of sidechaining you or the artist wants.

Yea im gonna try and be more energetic. I am always exhausted making these videos

@@georgetmusic You are doing a great job mate. Just one criticism: you could have called my dude just "Ali" instead of using "Mixed By Ali" redundantly, but it's just a minor issue. Keep going, you got great potential!

You gotta show something on the gram right 💀

@@dellunamusic museum exhibition for these fools smh

recalls are necessary

He uses the board for the majority of EQing

It’s just a different set of tools

?

You are bass sick