Thanks,all REALLY good info. Basically,the first "mix" lesson I was taught at Full Sail,way back in 1986. A static mix in mono,first...then everything else. God,I miss editing 2" tape....NOT! Cheers,excellent channel 👍
I can not stress number 3 enough!! The Key to a good song is a good recording. Esspecially the Performance bit of it. If you are not an Adelle, or a Jimmy Hendrix you will need several trys, to get the best performance out of yourself, or the musicians that you are working with! The raw recordfings should sound very good! For me its THE most important part of making a song!
Not sure what your audio background is, but a "static mix" actually just means there's no automation. It absolutely includes any plugins/processing/routing. Cheers
I’ve never heard that before! I define it differently! “A static mix is a rough draft mix made with only the basic DAW mixer tools like the channel faders, aux sends and panning. It's done to balance the levels of all the tracks in a session and put them in a general position before changing any of the sounds with compression, EQ or reverb” This is the definition from 👇 blog.landr.com/static-mix/ Either way, it doesn’t matter because the concept of my video remains the same! Just different definitions for “static mix”. Thank you for watching! I hope you enjoyed the content! And thank you for your comment!
Rough mix name makes more sense for non mixed tracks. Static mix makes more sense for non automated mixes. I agree. And one thing I gotta say is that pro mixers like MD$, Danitello or that kind of people don’t think about gain staging really tbh. They just mix by feel. It really isn’t that complicated. And I gotta say that MD$ has done music for G-Eazy, Megan Thee Stallion etc. too
Perhaps conduct a little independent research before posting comments that come across condescendingly? Curious from your counterpoint (and very much NOT an expert), I did just that…and every reference I could find aligns with this bloke. Of particular interest - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MeWzJT3m13Q.html. Not sure what YOUR audio background is, but it would have to be pretty impressive to sway me as a learner against PreSonus.
@@natemoore6760 @natemoore6760 this is the problem with the way content is delivered these days. For example: now everyone thinks that multi-tracks are stems...they're NOT. Multi-track is exactly that, the source tracks, whereas STEMS are just stereo mixes of a group of instruments, but people throw that around haphazardly and it becomes adopted among the community, regardless. Think about the word "static." All it means is NOT moving. Why would that mean there're no plugins or processing being used? PS- I'm an alumnus of Recording Workshop, 2003.
I think another thing that will hinder a lot of people is spending an unnecessary amount of money on gear - especially when you're just starting off. I've been guilty of this when I started mixing my own stuff back in like 2012. I would see Misha Mansoor using an Axe FX II with like an $800 Jackson with custom Bareknuckle pickups running through a Focusrite Scarlett into his Mac. Probably like $8,000 at LEAST worth of gear there. I loved the tone and thought "wow, I want that tone....I want my mix to sound like that". Well it's not necessarily the price of the gear, it's the experience and knowledge on how to use it. Of course through the years, I've gotten more expensive equipment, but I'm also comfortable using the equipment now. Back then, I barely knew how a compressor worked lol. So focus on gaining as much knowledge as you can and use what you have now. That's the best way to learn is by using lower end equipment because it really makes you work and understand how to process audio to get it to sound like what you want it to or at least close to it. Sure, getting the best source sound is ideal, but people need to also learn how to make a turd sound like gem. Also, don't stress about getting a bunch of analog gear. I'm still guilty of that lol. I have a wishlist with about $10,000 worth of analog gear I want to get eventually, but it's also not 100% necessary. Mixing in the box is becoming more and more normalized and that's a great thing! So many amazing plugin developers releasing phenomenal plugins that can damn near emulate the hardware gear exactly. Just my personal input on the topic haha.
100% Agree! Experience > Gear. I mix everything in the box! Even my guitar amps are digital haha What a time to be alive! And bro, Misha is a freak of nature on the guitar. He is one of the reasons why I even play guitar. Periphery is the best Prog-Metal Band EVER IMO
If you can get a hold of some multi-tracks of your favorite songs, and download them into your DAW you will be amazed, at how its the combination of tracks sounding together that make it sound great, because if you solo some of the tracks by them selves, sometimes they don't sound that good on their own, knowing this will speed your productions and mixing skills. It's not that your are necessarily fixing it in the mix but the mix is masking a lot of small mistakes that you really don't need to fuss over, because when all the tracks are played back together the individual performances will sound pretty good, unless there is a total screw up like the Vocalist singing off key, or the audio recoded to hot into clipping.
a buddy once told me that the context of the mix matters a lot. so when i mute everything else to isolate some vocals to work on the EQ, i shouldn't be discouraged, because when i unmute everything it will make more sense and sound much better.
static mix is normally called rough mix, isn't it? a static mix is a mix without automation in my understanding. mixing to -6dB peak is not really necesarry, in mastering you could just turn your track down if you want that headroom. -18db peak for gainstaging is just relevant for analog modeled plugins, your daw and most modern plugins do not care too much about input volume. so gain staging depends on the tools you use, and on the genre your mixing. for bass heavy electronic music, being too conservative with your levels might get you into big problems later, making your songs unusable for DJing in clubs.
subbed, you kept it simple and you're on Studio One 😂would love to see a video about plugin ordering - I'm used to ordering guitar effects, but vocals, instrument busses etc. are not as straightforward
Great tips and agree with most of this, especially having good source and a good static mix to start. It's so important. The mic choice -- well, it's not as simple (IMO) as just a dynamic and/or condenser (you forgot ribbon mics). Different dynamics will sound different from one another, as well as condensers. There are huge differences in the results you'll get from one FET or tube condenser to another - mic choice makes the biggest difference. AI to help you write songs? Um,..sure, there are use cases for this but -- don't be lazy, write your own songs. The satisfaction you get from that is almost immeasurable.
I agree with you. But I believe it’s an 80-20 principal. The different condenser mics only matter 20% of the time. Maybe less in my opinion. The 80% is definitely the type of mic. Also, I didn’t mention ribbon mics because I wanted to keep it super simple. Ribbon mics have their purpose. I like using them on a guitar cab. The high end is great IMO. Also having AI to write a song is definitely a tool and not a total human replacement. I like to think of it as an inspiration or kickstarter for your creativity. If you watch the video, you see that what it gave me was still somewhat simple. I still had a lot of work to do to get a final song done. Still impressive tho 😂 thank you so much for your comment. Really loving the dialog this video has created!
I’m finding out people define this differently 😂 I was taught that it was a mix with just the standard DAW controls and no plugins. 👇 blog.landr.com/static-mix/ This is at least how I define it! Concept for the video is the same tho. You should start getting levels right before adding plugins! Good to know that it’s defined differently for different people! Thank you for your comment! I hope you enjoyed the video!
I believe headroom on the Master is irrelevant in DAWs: With floating point calculations, adding a gain plugin to reduce the gain before any other effects on the Master accomplishes the same thing.
You could throw a gain plugin on the chain to fix the issue! But I believe it’s great practice to learn how to maintain levels properly. This teaches us what matters. Just because something is louder doesn’t mean it’s better
statis mix is king but one thing i love doing is when a track needs a bx stereo maker ill add it on. or some other producer stiff to make the track sound better song writing wise before the mix
Still pretty new at this but I like and agree with everything you said 👍 You have my support and a new sub! Haters gonna hate tho and squawkers gonna squawk huh? Lol keep up the good work sir 👏🔥
I have a question on layering, so im currently using midi instruments and have not recorded anything for my travk due to lack of equipment. Am i supposed to layer midi parts too or is that for recorded parts?
Should I use plugins when producing a song, or I should use only dry instruments without delay and reverb? Almost all vst instruments and synhs goes with a bunch of effects, do we need to switch of this effects?
No! The easier the better tbh. Unless I’m going for a specific sound that I can’t replicate with the VSTs effects, than I have no reason to turn them off!
A single VCA controlling the level of all your busses is how you reduce the level of everything with one single movement to prevent the master bus being too hot. You're welcome!
@@ProducingInTheBox Yep, send EVERYTHING to busses, even if it's just one instrument on the 'BASS' bus for example. The mix stays perfectly balanced as you pull them all down with a single VCA. That VCA is then an overall control for how hard you hit your mastering plugins.
All of the gain staging advice would be on point if 32 bit floating point mixing didn't exist. But it does. If your mix is clipping your mix bus, you DON'T want to go and turn all your individual tracks down. That will destroy the mix you've just spent hours getting. Your drums perfectly balanced into multiple parallel dynamic channels (etc). All your dynamics will fall apart. This is analog advice in a floating point world. (IMPORTANT CAVEAT - THIS IS NOT THE SAME AS SETTING YOUR SESSION TO 32 BIT)
Shooting for -6db peaks on a mix is fine but how do you keep the RMS level solid at say -18db with that? If my mix is peaking at -2db or something and I pull all the faders down this also lowers my RMS level. People say that you should shoot for -6db peaks and an RMS of about -18db. Real world for me is usually something like -4db peaks with -23db RMS. I guess it's just using more compression or something across each track to get the mix to hit the -6db peak/ -18db RMS?
It’s a general rule of thumb! And shifting it a bit louder is completely fine! It’s whatever sounds best at the end of the day. Whats on your mastering chain?
@@ProducingInTheBox Mastering chain would be a bit of eq, light compression and a limiter. I'm interested in getting mixing levels to roughly -6 peak/ -18 rms. Rather than say, -3 peak/ -24 rms. Generally because if the mix is too low in rms, it requires more cranking at the mastering stage to bring it up to decent volume. (And when I say decent volume, I'm talking about something like -12lufs integrated)
A clipper to clip the spikey peaks just enough that it's inaudible AND use the Sonnox Inflator..it basically does exactly that. It decreases dynamic range hence increasing perceived loudness while maintaining a constant desired peak level.
Gain staging is not that important. Sure, if you have analog emulation plugins, feed it the right level depending on the manual. You don’t need 6dB headroom on the master or whatever, you can just turn the master fader down.
As a producer I mix as I go putting plugins on certain sounds basically to "get the sound right at the source" before I finish a track a really start mixing. Also for effects too. Sometimes I know well in advance that something needs a certain type delay to make it do what I want I to do in the track. Kind of like a vocal producer (or the vocalist) knowing they want certain background vocals or adlibs to bring the song to life
Really appreciate your efforts...agree with some of the stuff But A couple of things to be wary of ..you cant clip the master buss...unless you are using a 20 year old daw with a 24 bit mix engine. You can literally mix at master +6 and makes no difference unless you are sending 24 bit files to your mastering engineer in which case you pull the fader to -12 so they get a -6 master. Peeps...try using newer interfaces eg 32 bit hardware...its 2023 ;-) eg urc series...you cant reasonably clip the input either. Gain staging is only a thing in the analog world or plugins emulating that... Ive done a lot of mixing over 40 years...this is not a static mix...this is called rough balance...be careful to get the whole truth and balance the mid range picture first, in mono, on eg auratone and build the bottoms and tops relative to the mids...this will cut your mix time significantly...very significantly. This is where you do the broad eq strokes as part of the balance eg frequency keying is like brightness/contrast and depth layering in graphics. @mixing in the box....have you got some examples of mixes you are happy with?
Check out my channel. The welcome video is a video showing some mixes and productions I’m happy with. It’s maybe a year old now. I need to update it soon
@@ProducingInTheBox Cheers for that. Mastering is well done....spectral balance is nice. If its ok to give my 2c and I say with respect...the bottom end is super compressed...just not feeling the contour is the busier mixes....less is always way more but you dont have control over the arrangements...ie super busy makes it hard to carve space...the sparser mixes have good attention to balance etc but they do feel quite flat but it seems more flat dynamically than spectrally. I guess overall the left to right is nicely set but the front to back uses a great deal of mono elements and no haas separation or staged ambience. The first track especially has no actual common space to tie the track together and the severe compression emphasises that but once again...that may have been an artist request to have everything in your face.... and you dont have control over that either. Dont get me wrong, they sound good...and no doubt you have done a lot of work...I think the client base is a little tough in those genres as they probs have pretty strong ideas. I just didnt hear any tracks that were actual live take bands or a lot of real recordings to hear your handiwork clearly...thanks for your reply.
What if you had the same $400 vocal mic for twenty five years ( Audio technica 4033a) ??? Would you invest 2k on a better mic if you already have a great hardware vocal chain ( preamp, comp, and eq) ??
Yeah lol my bad. I changed the thumbnail. That tip never made it into the video because as it turns out, I do boost the low end like that sometimes. Rarely, but sometimes. 😂
@@ProducingInTheBox wooow. It’s just that 😫😫 like I am not getting really a mix what am looking for or something. Do you have more tutorials like the basic foundation and fundamentals when it comes to mixing
@@djprodluigi check this video out!👇 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3vX6aVDEBlg.html Even if you don’t use Studio One, you can still follow along! All DAWs are very similar, especially with compression and eq
Nah I disagree, for people who are trying to nail all the basics with recording/mixing, this stuff is essential to know and remind yourself of. I forget to do a lot of this stuff from time to time. Excellent video as usual!
@@Danny_Zak Thank you! And yes, this information is crucial and not everyone knows it. I also like to say “I need to be reminded more than I need to be taught”. Sometimes going back to the basics is key.
