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It's always very interesting to see how other people setup & utilize a template. Thanks for sharing, there are many things to try out here. Appreciate it Mr. Weiss! =)
Great video Matt, great to see your thought process to it all, very interesting. I've also been using a LA-2A style (UAD) compressor over an 1176 in parallel for vocals, to me it sounds more natural and clean, and has a nicer vibe. That Spectre tip on the Melodics is awesome.
I dig the template, loved seeing the A.O. plugins[one of my fave company]. The only problem i've noticed lately, is that i've made too many diffrent type of template's. Gotta take some note, maybe compile some together and delete the trash. Bless
Can you do a mixing and mastering template for Hip Hop with UAD Native Plugins.......Just vocal tracks (Lead verse, ad libs, vocal stacks, and hook vocals} to a two track instrumental?
I don't use UAD. Years of requiring an external device to access plugins made me uninterested, and now the competition is so high that UAD isn't competitive enough for me to buy into the native ecosystem.
The needle swings pretty hard, but I couldn't give you a solid number. It's more about pushing into it and turn the return down until it feels like the right amount. For some vocals that might be a lot, for others it might be very little.
Great video! Love hearing your thought process on the routing. One question, on your RETURNS buss do you route ALL the effects to it? If so can you share the benefit? I've been routing all effects to each submix. Example: drum efxs -> drum bus, vox efxs -> vox bus, etc.
There's a trade off. On the one hand you lose the benefit of convenient solo'ing, on the other it makes sense if you are using shared effects on different sources. Like sometimes I use the PSP send on synths and guitar, as well as vocals.
Whaoo this is an absolute game changer for me. Just a question, how do you calibrate the parallel compressor so as to be ready for use on the go. And very fine tune who is the artist. Thanks
The artist is Amirror - her single "Far Away" is out and doing numbers (mixed by yours truly). The template was set up with peak signals at about -10db, but honestly you have to mix into it. The levels and the actual source material changes the results, and that takes a second to get an ear for. It's a very "old school" approach, but it works incredibly well once you get the hang of it.
To make sure I'm understanding this right: You're setting parallel compression on vocals before the insert compression, because you're setting the size of the vocal first before dynamically controlling it? If yes, then does this mean that your general gameplan looks something like this statement below? 1. General leveling and panning decisions 2. Parallel compression (and other parallel effects?) 3. Insert compression (and other insert effects) treatments
@@WeissAdvice I will try this on my next mix, usually I get my vocal inserts done first and by the time I put all my parallels, things sound "wrong" because I got all the insert stuff "right". Really problematic when I'm mixing extremely wild genres (hyperpop, electronic, industrial rap, etc etc) Do you have any videos about setting levels (particularly vocals) at the beginning of a mix?
When you start with your parallels and then tighten things up with the inserts, do your insert plugins start to affect how the parallels react to the signal? How do you manage this? I tried your method on my song, but I'm finding it difficult to add EQ or compression to the inserts because then my parallels start to react in different ways than I originally intended.
@@tyalexandercheng this is what ive been running against, but then I realized I just wasn't gain staging as well as I could've been... Honestly between compressing and saturating your leads, the parallel should get MORE consistent
Interested in the vocal compression approach. Where is the ‘main’ vocal compression coming from. The parallel bus? Or does this assume the vocal already has a decent amount from tracking?
there's no "main" compression in this configuration - it's shared between the parallels and the track insert. But the "size" of the vocal comes from the parallel busses, the dynamic control comes from the custom opto on the individual track.
I'm curious how different your recording template is from your mix template. For years I've gone back and fourth with having two separate templates or having one template and just having certain routing/plugins hidden or deactivated until its time for mixing. Would love to know how other people are working.
Very different. My mix template has latency inducing and cpu heavy plugins with a lot of additional routing. My recording template is all about getting the takes in and comp'd as smoothly as possible.
Hey Matt, is this a multi-genre template or specific to this song? And does it come with notes and recommendations for plugin swaps for what we might night not have?
I also mix contemporary ambient chamber music similar to Olafur Arnalds, Nils Frahm, and Hania Rani. I must say, this template works well for slow, somber, melancholic, and sad songs too.
MW,,Why not bus the lead vocals so you can do the treatment to them both at one time and save cpu? They're getting the same treatment,,hence duplicating the plugins..
So you are mixing using buses instead of the tradicional route? When u turn down the paralell buses to mix the signal in is Your plugin setting being changed? Are you pre or/post fader
Sends are post fader. Coming from the console world this is fairly traditional routing - just leaning on parallel busses a bit more, and using auxes instead of VCAs. The returns on the auxes are post insert so turning down the faders does not change the input value.
@@WeissAdvice How do I set this up in logic? I'm not understanding the post-insert function. I see the pre-fader on the send button, but I don't see the option to make the aux post-insert.
Matt ,,why not bus the vocal tracks together and do the treatment on 1 track to save cpu ? Its all the same treatment which is why you are duplicating..
Because different tracks don't always get the same treatment. I'll do minor variations in terms of processing as well as sends, and it's easier just to do separate tracks than to automate.
Yup, weekly live webinars, exclusive videos, mix reviews, access to every full length tutorial I've ever done, access to our Discord, my templates, vendor forms, track outs for practice mixes, my sample pack, and only $44/month!
lol? Matt is one of the best mixing teachers on the internet. Being skilled at mixing and teaching are 2 different skills and he's skilled at both. He's worth it, but if you don't value your craft you shouldn't invest a dime into it
