Without PERSPECTIVE, Mixing is BRUTAL. 

🤣

He's talking about baking

This needs to be pinned

Lol I want to know what youtube algo brought you here

Mixing is all about bodily fluids and how they interdependently interact inside the human body as well as outside, presumably in somebody else's body

Hey man, that's great to hear. Big cheers.

Same here! ❤️

Hilarious, because I just did that earlier this week for the first time, and by accident. My sound-isolating headphones that I use when tracking drums were across the room on the floor, I turned them up by mistake, and was like 'ohhh, that snare's way too loud!' 🤦🏾‍♀️

I wanna believe this story but to me it just sounds like one of those studio fairy tales that people like to tell. Unless you have a reference with a name, place and time when it happened.

@@mirzaaljic doubtful it really happened that way. Like one of those fish stories.

Oh no, it's absolutely true that well thru the 90's, A&R folks, scouts, and music supervisors listened to stuff on cassette on mediocre grotboxes in their office. The idea is that you want to hear and experience the song, not the production, which as often as not was crappy anyway because "demo". Sometime in the daw era we lost the art of the demo and everything had to sound like a record from day one, but it wasn't always that way.

@@TheHouseofKushTV I agree. Demos give perspective on which songs are worthy of further effort.

@@TheHouseofKushTV 100% I’ve been in industry since 77 and engineering since ‘86. Today in my hybrid room I often encourage some clients to think more “ demo” like rather then straight from my little room to streaming. Which brings me to “ mastering “ services clients request and the little Indy rooms that say they can do it. Not where I come from, don’t get me going on home based “ mastering”. Your philosophy and style is much needed on YT. 🤘🏻🙏

I would suggest to someone master. Your music perspective is everything when It comes down to music mixining and mastering

@@alinenunez4270 i agree, feedback from somebody competent in audio production field is crucial before release, your music will be better, faster ;)

I progress very slowly, like stupid slow. I can sit and hum melodies into mics for hours and might not come up with anything. But it does always come eventually . Ill skip around to different songs if i feel stuck.

But ive got no excuses. Ive got all the equipment in my basement and if i grind, good stuff turns up.

Headphones are amazing tools, but can be ridiculously deceptive, totally agreed! I will say that I can fuck up the imaging on them just as badly as monitors, because my hearing (frequency response) is so different in my ears. I really need meters to keep me honest!

I had to fix this when I saw a like on it. "Always interesting to HEAR your perspective on things". I hate when people misuse these so I had to come back! :)

I do the same thing. There's a massive buildup at 40Hz in the back of my room, but it should still be a tight and coherent buildup or I've got some cleanup to do!

This dude loves you right back! 🤜🏻🤛🏽

@@TheHouseofKushTV you’re a legend. Thank you for continuing to bring us clarity in an otherwise murky mixosphere.

Any time!

I mean, I could, but it'd be 10 seconds long and would be me saying "hire a pro". 😛

🤜🏽🤛🏼

At the risk of being unhelpful, I'm in the same boat as Tchad BLake: I just move things around until they feel right. I don't "see" imaging very well, so I just nudge things around in space until they either blend in or pop out the way I want. Overheads wide = brighter, less transient impact, more diffuse and cerebral. Overheads narrow = darker, more oomph, more visceral and intimate. So much depends on where other stuff is sitting. If the song spends a lot of time with bass, vocal, and a narrow rhodes, I may want the drums way outside that for clarity. If I have a ton of stuff out at the edges, I may pull the drums in to 9 & 3 or 10 & 2, to get them inside for clarity. Listen to Beck's Sea Change to hear a lot of bright LCR width. Then listen to Portishead's Dummy to hear a lot of dark mono vibe. Try picking a panning strategy and just sticking with it, like make a completely mono mix where the only things stereo are the reverbs and delays. Then zero everything out, and do it full LCR, nothing can be anywhere but left, center, or right. Neither approach might be ideal for the production, but you'll learn a lot, quickly.

@@TheHouseofKushTV I'm humbled to get such a detailed reply! Thank you for opening my mind. One of the major things I've learned over (not a long amount of) time and from your videos is to dare, and sometimes it makes me feel like I have an idea what I'm doing, which is good. Side note, you're never unhelpful :)

Bleeds as in 'other sounds bleeding into the mic'? There's only one way I know of to deal with that, and it's to embrace it, work with it. It can actually be a very cool and different way to work. Try shifting your mindset, and use the bleed to mix and construct 'the ambient space' rather than 'your ideal set of balances'. When you move the faders around, try to hear the space around and in between the sounds rather than the sounds themselves. Try to get a solid, 3-dimensional 'room' to coalesce in between the speakers. Go for depth rather than power. Use the bleed as eq too, listen to how Track 1's tone changes when you adjust a different track that has Track 1 bleed in it. The main thing for me is, the more bleed in a track, the more I have to avoid intense processing or the phase will get too smeary. But really, bleed is either your best friend or your worst enemy, it's totally up to you but I recommend surrender!

Thanks, I'll try my best!