I Don’t Mix My Beats 

I agree I even met some hip-hop engineers that don't understand the hip-hop genre. They do great with rock genres.

@@christopherwilliams4968 OMG just find a good engineer. Not genre-leaning engineers. Mixing is pretty much panning, leveling, eq, compression, and effects. Mastering is getting the s6%$ to industry level loudness and to sound great on a lot of playback options. All of which are necessary for professionally released music

Come to the studio! Anytime your in Minneapolis...Hollla🤟💯

Mix it yourself?

I run a studio just outside of Vancouver Canada. Let's talk!

I can be creative and mix at the same time its all up to your workflow and understanding of gain staging.

@@davidjenkins8449 its all creativity when it boils down to it. Gain staging is a easier and less time consuming process compared to actually mixing. Also being a audio engineer as well can be a Pandora’s box of its own when it comes to producing. My actual remedy of this is I separate my days of producing/arranging from my days of mixing. I look at it like being an architect. When producing It gives you a better space to create/building the song structure, providing the elements based off your vision, pretty much the blueprint. When you approach the mixing separate your ears are fresh, your perspective is mote clear and concise . Thats the process of constructing, creating cohesiveness with all the elements that actually fit together, pretty much like legos. Its to each its own, but with my experience Ive realized my mixes came out better compared to mixing in session of me building the song.

Same bro. Get so caught up in trying to get it ready to record. Smh

🤦‍♂️

Same here, I'm focusing on simplicity these days

YES!! I see so many tutorials about mixing. I was doing way too much and it was messing up my product. I went back to my old technique. Natural ear, gain staging, etc. Raw music. Contrary to these modern youtube tutorial beatmakers, there are no set rules. Minimalist as far as that. Art is art

I have been a long time appreciative fan of your music for the last decade Mr. Matt Cab🎶🎵🎹

😎

Yes!!

I uploaded a track I made on my phone using the iMPC and, it was knocking. I was surprised as I hadn’t mixed and mastered it. It knocked more than songs made other apps

@@kamoya8 interesting.

where do you mix your beats? which software do u use?

underrated comment

Wrong, If the meter in the red it's to hot and will damage speaker systems because some of those peaks are not audible to the human ear but will damage your speakers. Also having peaks to high will reduce the overall volume of the track significantly.

@@HOLLASOUNDS u sound like your meter is in the red

@@HOLLASOUNDS what speakers u using lol i mix all types of songs at all types of volumes including strong clipping and all my equipment is fine

I'll try that. Thanks

I feel ya man

smh....

Maybe you're working with idiots🤷‍♂️.

@@estebanb7166 that makes no sense at all

@@chigozietruth Maybe, you're one of the idiots 🤷‍♂️🤦‍♂️

💪🏾

I agree!

Does it ever come out like you hear it in your head?

But those “right sounds” had to be mixed and record by someone so that you can conveniently use them with the click of a button. So dismissing mixing as if it’s trivial and doesn’t matter is dumb because your whole sound depends on that.

@@55jemmz5 mixing is subjective. I wasn’t going to respond because your comment suggests you have no idea what you’re talking about but I will. Henceforth the title of the video. Mixing is not something you have to do if you are the creator of a particular piece of music unless you choose to because it’s your creation. If you pick the sounds from a computer or play them live, taking more time selecting the correct sound or tuning the instrument prior to recording will prevent you from having to spend so much time mixing.

@SOUL SEEKER most of the music producers/ engineers model was made during a time when you had to get everything right on the way in. Trust me.

​@@erekalvin Yes. Keep in mind.. "Right" as in "good", not "less than good" or "perfect". Good instruments, played by good musicians, a good performance, a good arrangement, a good song, with good equipment, good mic placement, good acoustics, good signal flow, good dynamics, that leads to a "good" recording. Everything after that is just gravy.

@@banparlous2552 💯

What about cutting the low ends with fab filter?

Thanks for these tips

Word. That's how I get down. I don't want to wait until the track is finished before I can tweak it to sound how I imagine. I need to hear it tweaked while I'm working on it. If I'm imagining the track to have a filtered bass, it's getting filtered when I make the first bar, not after the track is done.

As a mixing engineer myself I can just confirm every single word. And as someone that started as a producer 20 years ago and stopped producing and switched to full time mixing like 10 years ago, I can confirm everything Bolo said. While I was producing I wasn't using any mixing effects, except basic filtering and some basic delays and reverbs as needed, which were so basic that they had to be recreated in the mixing stage anyway. However I don't agree with one thing, and that is digitally peaking... If there is a lot of information over the ceiling (zero), different devices will recreate the sound differently, so the stuff that is clipped and that bangs in the studio, might distort as hell on some consumer device or car, or phone via bluetooth, because every DA on every device will try to recreate the overs differently... Been there done that, was getting very hot peaking over zero rough mixes and making it properly under zero and keeping the same vibe is just impossible, because the producers got used to the sound of their DA stages clipped, and until you re-record an actual audio clipped from your DA stage the way you like it, it won't sound the same when the overshots get managed. And that get be frustrating for both producers and mixers, producers will be frustrated because their drums, bass or whatever doesn't hit the same as their clipped bounce mix, mixers will be frustrated because they can't recreate the same energy or can't imprint the same distortion character the producers and artists got accustomed listening to the clipped export on their devices and falling in love the way their DA stage distorts. And an audio file that's peaking like 5-6 dbfs over zero, is really a candidate for that.

​@@janmagdevski4973 As a reply for your argument on clipping: I agree that it won't be translated well through devices. But if you're producing a track, you won't be too technical about it. Let's be honest. Most people will hear clipping the same way. You and I and people who trained their ears to hear these differences will tell, but I think it does not worth the argument. Most drum samples are already clipping if any transient designer was involved to the making. Yes, technically speaking you won't be able to recreate a desired clipping distortion the way it sounded on their system. But should you? In my approach, I always look for the reason it's pleasing to them, recreate things even better. Same with reverbs, compressors, OTT-s and so on. There's always a way create a similar (preferably better) energy to the mix with professional approach if you know what you're looking for. OFC it doesn't mean it's ok to be sending clipped multitracks to your mixing engineer, they'll send it back to you immediately. To another topic I wanted to address: This whole concept of clipping peaks especially on the drums has created a need for using digital clipper plugins on the mastering stage. It's very easy to play around with the clipping distortion when you have full control over it. And you'll never go above -0.2 dBFS anyways because of the mp3 compression added later on by streaming services or youtube. Even though you're a mixing engineer, I highly suggest you watching this video on submission audio's FLATLINE plugin. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SYL1O3OUSt0.html There are no rules, but generally if clipping is applied at the right stage with the right tools, you can achieve very precise results which will translate through every DA conversion.

@@skk6811 I agree with all you said. But Bolo shown a track peaking @ +6 to +9 dbFS if I'm not mistaken, that's really a candidate to depend a lot of your DA stage... I've seen devices going crazy with less. Also, for the sake of experiment, throw a song, a mix, or whatever, make it clip +9dbFS and listen to it, now throw a clipper to catch that 9db over it'll sound completely different...

@@skk6811 Also in the Flatline video you shared, on this very moment he's clipping 3-4db at maximum... I would like to hear him clips 9db of bass heavy material

@@janmagdevski4973 yes, it is different. you made me curious of how high end DA's will effect it, listened to it on my apollo x, and the orion 32 in the studio i'm working at, also tested some clippers from T-Racks, Pro Tool's clipping distortion and Logic's clipping distortion. On the plugin site of things, they're kind of doing the same thing, maybe some differences in characteristics and harmonic content, but sound pretty similar. On the DA side, the Apollo has some headroom built in for this purpose, I couln't get it to an exact value, but the orion 32 cut it straight in the digital domain. No unexpected overtones, nothing. anyway, who wants to be clipping +9db anyways? depending on the dynamic range of course, but it's huge.

The problem now is finding the engineer

I have an i5 4th gen 18gb ram that I bought earlier this year however due to heavy plugins I still mix my beats first then import to Pro tools & record my vocals there. A real pain indeed. 💔

@@808mike Yeah I do everything in one DAW in Studio One Pro. I have a 6 year old Quad core Windows machine running a MOTU AVB interface with no problems when it comes to power. I produce records the same way as Oak Felder as neither of us use a Recording Engineer as we both act as the Vocal Producer and Engineer when cutting vocals for our client's. Protools is not really necessary a requirement for general music production as most DAWs these days are cross compatible with each as I can load Protools sessions in Studio One. Oak Felder produced Demi Lovatos entire Sorry Not Sorry song in Logic Pro her vocals and every. Only the backing vocals such as the gospel like choir Vocal stacks was done at another studio specially Westlake. Oak has his own private studio in a house in LA but he acutally lives in Atlanta.

Tracks and stems are two different things. An engineer would not mix stems.

@@sendforacar9323 Not sure what you are talking about as my post is pretty clear. A Mixing Engineer does mixes STEMS which is the multi track session of each element aka as the raw session files. The term "Track" is a very broad that's very general that can be used interchangeable to a song on an album or a beat. As a Producer when I say I'm producing a track I may not be talking about the beat but rather the whole song. A real Producer sees the whole creative process of making a record from it's initial concept to its final mix stage.

@@sendforacar9323 What will an engineer mix then if they would not mix stems? baked fresh air? there are 2 possibilities, 1 is you are just trying to get attention by saying something useless, or 2 you dont know what your talking about but you try to act like you know something..

I dont know how but it does.. I literally made a beat and didnt touch nothing but a volume fader and it sounds full and mixed

Interesting that you say that, I feel the same when I bring things from my MV1 to Logic, but I am not very good at all the mixing and mastering bits and I think my effects are better in the MV1

That’s because the MP has a dedicated function making tracks, I still jump on the PC every once in a while, but, a PC has multiple functions, the MP outputs are different and thicker

I agree, it seems like every beat I have made on there needs like, nothing at all done to it. If you can find that video for me though that would be great the one you were refering to

@@HoldMyBeerFam Marlow Diggs is the RU-vidr was a vid about exporting to logic

I actually and mostly produce, record, mix my records and sometimes master. I get it but when I’m working on the studio with artist we try to get ideas together fast 💨

As did the first wave of MPC’s.

Exactly what I do on my one.. 👌🏾

@@bosslife_bangin right. The best advice I ever heard was, “If it sounds good, it’s good! If you have good ears, you’ll know it.

Fam I’ve been using Logic but now looking to go dawless and cop an MPC 5000. How is mixing like with the MPC? Thx bro

@@mikevenus4117 yessir 💎

@@OtisThorpe518 I haven’t use a Mpc 5k. I have a Mpc Live2 and a Akai Force. My understanding of the Mpc 5k is very limited. I’m sorry.

Thanks

Thank you

Yessir!

Yes.

💯

Makes a lot of sense

It‘s very likely... that I will refer to your comment (from anywere else) because: you nailed it.

@@kaiherrmann4800 thanks, just my POV but if it helps other I’ll happy with that