All language subtitles for 2, Pop Rock

Hey there, and welcome to this module
where we're going to be mixing through a

track together.
This one is kind of justice contemporary

O rock track.

It's by a band called Deck Three.

This is actually the band of a guy named
John Haber who's one of the owners of

Alto music.
He's like the head honcho over at Alto

music. I've known him for years.

He's been a supporter of Sox group for a
long time.

So we sent over one of his tracks from
his band for us to check out and there is

actually a mix done of this already.

By a pretty major engineer who you may

have heard of this mix that we're going
to listen to in just a minute.

The original mix is actually done by
Michael Brauer, amazing mix engineer.

He's been at this for decades.

I've interviewed him like five or six

times. He's one of those legends in the field

and I get to see if I can do a mix using
nothing but stock Pro Tools plugins and

see if I can get as good as Brouwer's
mix, and hopefully can I even do a little

better and build on where he left.

Often kind of ramp things up from there.

We'll find out OI got all of these audio
files from John, just raw audio files and

loaded them into Pro Tools.

Load it in the same session template that

I've given you guys to work with and set
U all of the routing O you'll see here

that my drums are going into a drum bus
and a parallel drum bus.

So we've got two buses there and you can
see that I'm using a little bit of EQ on

some of the elements, most specifically
kick and snare elements, but more of the

heavy lifting is actually happening on
the buses.

The same thing happens with the base I
was given, actually 2 bass tracks.

I believe one regular base and then a
eight oh eight base.

It's really a synth base that comes in
certain sections, but I slit out the base

into three separate tracks.

There's kind of a full version of the

base, a scooped version of the bass, and
a brighter version of the bass.

So this scooped version goes pretty deep.

This bright one is mostly the attack and

snarl the base, and this is a trick that
a lot of people use when mixing base.

You can kind of do this with multiband
compression multiband processing without

splitting U tracks.

But when you are slitting U tracks for

base, what a lot of people will do is
have a bass track that is EQ to really

just have the low end.

Have another base track that's EQ to just

have the mid range and another one that's
really EQ to just have the top end.

And you might be combining two or three
bass tracks that way that are kind of

created in a multiband way.

It's not exactly what I'm doing here.

My approach is a little bit copy i was
like, I'm just gonna use 1 bass track.

It sounds pretty good.

I equated it.

And I'm like, I don't quite like that.

Let me try a different approach.

And I did a different approach on the
bass and I was like, oh, that's better,

but I don't quite like it.

What would happen if I combined them

together?
And it was like, that's better.

So that was kind of the approach of
getting this particular bass sound.

So sometimes, although the theory is
super useful, and I went into this

knowing that standard trick that I
mentioned is a trick I could use.

Sometimes you just kind of go by feel
and.

End up going in a certain direction.

There's a whole bunch of guitar tracks

here as well.

Let me shrink this outlier here.

Down O we've got a whole handful of
guitar tracks one two three four five six

seven eight nine ten eleven twelve
thirteen guitar tracks.

And then we've got a couple of keyboard
tracks, a mellotron and a piano that are

going to their own kind of keyboard bus,
and then a whole bunch of pads and

strings that are going to a string and
pad bus.

After that there's some occasional
effects.

We've got a like wind and some other, you
know, unusual sounds, and then a whole

bunch of background vocals one two three
four five six seven eight nine ten eleven

twelve background vocal tracks all
feeding into their own bus were basically

all of the effects.

Are happening on the background vocals,

and then we've got two different vocal
tracks, a main dry vocal track and a

separate vocal track with effects baked
in.

And this is something that you're going
to find increasingly these days that you

will get somewhat wet sounds coming in.

And a lot of these sounds are processed

going in, some of them processed with
plugins, some of them processed in a way

that they liked from their original rough
mix.

So I kind of loaded all of that stuff up
into here and I am using mostly the dry

vocal, but a little bit of the flavor of
their wet vocal from their original mix.

And then sending as well to some of my
own effects off of that wet vocal.

So I didn't totally reinvent the vocal
sound here and this is something that may

happen on your mixes.

Sometimes you don't have to do everything

from scratch.

The idea with a mix is to get it.