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all right let's get on to piece number
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two of I think bad advice or overstated
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advice and that's that in a good mix you
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can hear everything clearly evenly all
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the time like it's this jigsaw puzzle
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where you make all the pieces fit
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perfectly together and now you can
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clearly identify the base is the same
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time at the drums and the same time as
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the guitars and all the extra percussion
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and all these synths and all these
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vocals and you can differentiate every
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last little thing
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but that's not really what great mixes
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and memorable mixes often sound like
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great mixing is often almost the
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opposite of this where great mixes are
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about taking the things that are
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important and letting them be important
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a great mix figures out what's important
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in the song watch the end listener
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really going to latch on to what is
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going to give them the most emotional
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impact what should we highlight for them
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where's the groove coming from what are
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the things in this mix that are the most
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emotionally resonant the most
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interesting the most powerful the most
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important to the groove the story The
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Narrative Arc of the song and that's
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what a great mix does it enhances the
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things that are the most important and
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your job is almost to drive the
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listener's attention to focus on the
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things that are going to give them the
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most emotional impact and the most
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attachment to the song
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is hearing things clearly important
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potentially but it's also important not
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to get too precious about it
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and this can be an issue often with
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beginning producers who put all these
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little ear candy elements in there and
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they're listening to the mix in this
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analytical way of well what about that
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element that I put in there I can't hear
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it that clearly now we have to make sure
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we bring that up so I can hear it and
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this is often a recipe for disaster it's
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gonna dilute the focus of the mix number
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one and number two when you go through
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this approach of listening for things
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and saying can I hear that thing well
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your focus shifts
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and your perception of the mix changes
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as your focus in the mix changes and as
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you spotlight your mind on different
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things and you kind of lose the big
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picture of the mix
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and to do great mixing you have to zoom
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out to a degree you have to be able to
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zoom back and listen to the track like
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an end listener who doesn't know what
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parts are in this it doesn't care
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necessarily exactly what the bass player
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played or what your 90th percussion
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overdub is doing that end listener only
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cares about whether or not the music is
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making the move about whether or not
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it's resonating with him
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all right we're a little bit into the
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podcast already I've only gone through
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two of these so let's start going a
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little bit more rapid fire
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bad mixing advice number three is kind
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of related to the first two it's this
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idea that good mixing is all about the
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little choices you make it's all about
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the little sure you know I only moved a
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half DB of EQ on this and a half DB EQ
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on that but you might not hear them that
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much in and of themselves but when you
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put them all together it really makes a
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big difference
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there is a grain of Truth in this and
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sometimes great mixing is not
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heavy-handed and we're just doing tiny
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little Corrections and massages here and
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there
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but that is the 80 of the mixing that
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you do that gives you 20 of the results
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that you get
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and while it's important to do all those
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parts of mixing well that give you the
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little extra little 20 of your mix the
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most important thing to get right are
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these 20 of bold choices that you make
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that really matter and really make a
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difference in the mix
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and that give you eighty percent of your
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results and eighty percent of the impact
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so again a grain of Truth and this
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potentially bad advice that if you
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follow it too precisely it's going to
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mess you up and it's going to make you
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miss the big picture moves that you can
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make in your mix that are going to give
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you the biggest results and the most
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impact
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all right bad piece of advice number
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four is really any piece of advice that
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goes something along the lines of oh a
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great compressor to use on base is or oh
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the way to EQ a kick drum is
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any of that kind of advice is
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generally wrong from a certain point of
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view
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again there's a grain of Truth in this
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bad advice there are a lot of kick drums
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that you'll work in if you're in a given
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genre that want a roughly similar
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treatment if you have a real live analog
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recorded physical Kick Drum and you're
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working in metal production a lot of
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those kick drums are going to want a
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whole bunch of low mid sucked out of
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them and a whole bunch of upper mids
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boosted and there are probably fashions
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that go in any genre about particularly
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what part of the upper mid you're
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reboosting is it more like 2K this
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decade or is it more like 5K this decade
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and that stuff does happen
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but assuming that you're working across
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genres and with a variety of different
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material or you're not working in such a
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specific idiomatic genre the biggest
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thing usually is not what precise types
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of EQ settings to use or what specific
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compressor to use it's more about first
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figuring out
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what if anything does this sound and
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need
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and then it's about figuring out how to
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get there
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because the advice that might work in a
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certain context of cut out a bunch of
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low mids and boost a bunch of high mids
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on this particular Kick Drum in this
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genre you might be working in a totally
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different genre with a totally different
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feel of Kick Drum that you're supposed
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to have and actually you want to do the
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opposite you want to be old school and
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Woofy and almost tubby sounding it
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should be kind of dark and inarticulate
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or it might want to be way tighter even
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than the kick drum you'd find in a metal
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or Hard Rock track it really so much
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depends on watch the end aesthetic
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result that you're going for
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so before you say this type of
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compressor works well in vocals it's
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like so many different types of
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compressors work well in vocals what
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type of vocal sound is going on what are
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you trying to achieve with your vocal
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sound what are you trying to achieve
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with your bass sound we need to First
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figure out what direction do we need to
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go in and then we can talk about what
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tools and what exact settings will help
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us go there
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big thanks to lewitt for sponsoring this
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month and let me check out this
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beautiful pure tube microphone we're
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going to be giving away one of their
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mics this month so go over to
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sonicscoop.com to find out all about it
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hey if you like this short clip you
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might love the full length video that it
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came from or you might want to become a
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member just click the join button down
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below or you might love one of my
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full-length courses like mixing
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breakthroughs compression breakthroughs
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or mastering demystified they are
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guaranteed to change the way you work
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forever for the better or your money
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back hope to see you on the other side13369
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