I agree. I like smoking weed when coming up with ideas/ being creative, as well as making soundscapes or synth patches. While actually mixing and mastering for a proper release, I have to do that shit sober.
Solid advice Miami. As always. Also 100 extra bonus points for the HIMYM plug. I rewatch that show every year haha. And the mix critique section is very important. I’m sure you could do a whole video on how to interpret mix critiques and who you should be turning to. For example my brother and I mix our songs completely different. And he will critique mine and I’ll critique his but we’ve learned which instruments and points we make are solid advice and which are more opinion based and how to separate that when we talk to one another.
@@joeymusic same man. I thought the Robin cameo was good. But not good enough to keep me interested. But honestly for me, I think the supporting cast isn’t strong enough. I think Hillary is fine for the lead, but she doesn’t have people like Jason, Alyson, and Cobie backing her up. Not to mention Neil Patrick Harris’s character can’t be mimicked or replaced so it was going to be tough to begin with.
Great vid, one of the best so far I think. Point 6 hits hard. It's easy to mix too loud and then go low instead of doing the best thing which is to have a consistent and easy on the ears level for 85% of the time.
Oh boy do I ever wish I didn't have to work on poorly recorded material hahaha! Being a freelance mixer I kinda got to take what I can get however when I hear something that needs it I always recommend they go back and record another pass. Most projects I get are great but I've seen some doozies in my days hahaha! Great video broski!
Man, if it wasn’t for those projects I don’t think I would have had to get as good at mixing midi instruments lolol so it’s a blessing and a curse -Miami
@@joeymusic That's right man! If I didn't get those projects I wouldn't be nearly as far as I am today. Those are the projects that make me grow the most. Thanks for the reminder Miami.
Yeah...! Getting lost in section is the scariest thing. So, I have stopped mixing individually....! Like that I can atleast reach to the point where the next time I sit to mix I have not lost my thought process. Then start tweaking tracks when there is a problem. Helps me though...! Cheers mate...!
There are some really valuable tips in here, things that I'm sure many of us could stand to be reminded of again and again. Delivery keeps getting better, too. Great work, Miami.
Chasing someone else's sound is my biggest flaw. It's why I rarely use reference tracks these days as it's too easy to get sucked down a rabbit hole of trying to match the production. It doesn't help when clients ask for the EXACT sound of their favourite album. Find your own sound.
Mixing under the influence.... Called me out man. Great to see some new content, feels like its been a while. I agree though. Playing sure, mixing nope.
That is def one of them, but oddly enough I know some established mix engineers that listen to things ridiculously loud. They are the unicorns of the world -Miami
These are some great points-- I actually found the opposite though for mixing at a constant level. I used to always mix at lower volumes and then when I would turn it up the mix would almost come apart a little bit and the levels wouldn't sound as woven together as when it was playing back at lower volumes so I found now when I make leveling moves like that I actually have to make sure to check at both a comfortable listening volume and really loudly just to make sure. That has seemed to help me a bit-- Just my experience though
I agree with everything, and I need to improve in getting cries from wrong people. But disagree on the constant volume. In my opinion, it should sound great in all volumes… So I most of time I listen super quiet, or super loud. And normal volume for a final check before printing it.
Not every project *can* be re-recorded. It may have been a live gig. It may be an old recording. The band might not still be together. Budget / logistics might preclude getting the original players / artist back in the studio. Also, when it's required, us engineers should not be afraid of doing some difficult engineering. Anyone who has worked in live sound knows this, particularly in a setting where it's a stream of different acts one after the other and either no soundcheck or a very brief one or even just a line check. In that situation a good engineer needs to be able to make it work somehow, and do so very quickly. And then they need to be able to refine it as best they can, very soon after that. In the real world, things are often sub-optimal, and while it's great to get fantastic source material, sometimes it's just not going to happen.
Anyone who gives you beef over the idea that mixing under the influence needs to check themselves, forreal... Also, love how you didn't realize you were wearing a Rick and Morty shirt when you highlighted it with your flashy hands 🤣 Lastly, any update on the community drum sample project?
if you need to polish a turd then it needs re-recorded. a salvaged take can only become as good as the starting point of well recorded material, if that.
Not obeying number 5 is what transformed my mixes. I cannot trust my room even if its treated, i cannot trust my hearing perception as it changes depending on the day. I need to have a great mixed track to compare against mine every now and then. It grounds me to the global music reality. Otherwise, low end is never enough.
@@joeymusic I feel that. The teenage me could have laid of the green when making music- it definitely had me in my own head until I got to know myself better. Thanks for your insight, great video!
