All language subtitles for 003 - Jack Joseph Puig

Heights Jack Joseph quick I see here we

have a question from chef o Hernandez

how can you achieve maximum loudness on

your mix using just plugins well it's

interesting that sort of implies that

the best way you get loudness is an

analogue and some ways that's true some

ways is not true that's a longer

discussion but in terms of the analog

portion of course with transformers when

you push this down real hard you sort of

kill the peaks and therefore you're able

to get more level without the digital

going into the red for the obvious

reasons the plug-in loud in situation

there's a tremendous amount of plugins

that you can use to achieve that right

so l3l one for instance or to route good

examples what ends up happening is you

know the louder you push it the harder

you have that compressed so less peak

information you have so really what

we're talking about is a relationship

between peak information relationship

between peak information and the

relationship between RMS the average

level so the whole thing with the

plugins or even in analog domain is a

matter of actually killing some of those

Peaks or we can call them transients and

therefore you're able to have more room

to lift the level up and get more of the

rms level of course with Aquila transits

that's when things start to sound now as

a tacky not as aggressive and can sound

flat here people say it sounds flat it's

too compressed part of that is because

you've killed the transients so it's a

real trade-off the obsession with the

level can also be what can kill rate mix

obviously we're all in some ways

obsessed with the level because whether

we like or not the client who's

massively educated or not will compare

it to something else it's loud and ask

you why it's not loud so I understand

the pain point of wanting to to make it

louder am I suggested again has just

used the compressors even if it's a

couple you put together could be two

compressors you put together to try to

control the pink information versus the

RMS if you look at the meters on the Pro

Tools you'll be able to see exactly what

you're doing you'll see a lot more

greens and reds and the perfect world so

to speak as an example I say perfect

world as an example if you had just all

greens that would be louder than you can

imagine if you have the Reds going along

with the Greens we've got pick

information it's not going to be as loud

but to have a tach and it's going to

breathe looks like Darryl Swart

hopefully I've pronounced that properly

if not please excuse me how do you deal

with the hi-hat bleed when needing to

boost high n on snare but short gate

takes away from snare tone snare tone of

course goes away with the short gate

because you're taking the length of the

note away and that's where the tone

resides right so if this snare is real

tightly good you only had to kick left

so therefore is no tone what I do is I

go ahead and take care of that high

bleed by gating tightly and I either get

the tone from one or two places the

obvious one samples that I stick in or I

sidechain the snare or I should say

actually a better way to put it really

is to take the to take the snare and

duplicate it so it's identical right and

add a tremendous amount of bottom almost

so much bottom it could be as much as 10

or 12 at somewhere between a hundred and

two hundred and fifty Hertz anywhere in

there and I would put like a stupid

amount of that low bottom in where if

you were living listen to it by itself

you'd be like that's absolutely useless

and why is the snare drums like a bass

drum right but if you sneak that

underneath the other one where now

you've got the attack because you've

gated it very tightly and now you're

adding that low bottom in there it

starts to feel like there's a lot of

low-end

of course that your EQ insulting up the

hi-hat level of course you got to be

careful between the bass drum and that

new channel I just described because now

the phase relationship between those two

really matter so make sure the phase is

not an issue with you're adding so much

bottom on the snare that's cancelling

the bass drum so be very careful check

that phase but again add all that low

bottom the ear will think that you've

added tone because it'll hear the link

to the note the Q on the equalizer the

fit mosquito is very important so this

is on to tubby

right it's not to broaden where it

sounds sloppy and loose you want to be

tight is the backbeat so unfortunately

you have to use your ears your ears are

the best tool you can ever have when

you're making decisions like that does

your choice of monitors really matter or

is it on how comfortable and how you

adapted you are to your monitors if so

what's your favorite monitor speakers

are like headphones like a t-shirt like

a shirt like earmuffs it's what you feel

comfortable with and what you connect

with you know I've had people make

amazing records that I've mixed that I

was very impressed with the tonality and

the EQ scape of what they did I wanted

to find out that they maybe did in a

pair of speakers that I would never even

consider using or maybe I even dislike

so I get asked this question all the

time from actually regular people as

well as you know very well educated

people and I honestly have to say that

you just gotta listen to different

speakers and find them one that fits

your ear you know maybe you have ears a

very sensitive to brightness so

obviously you don't want something

that's real bright and vice versa you

know wherever the situation might be I

know the gentleman 1032 is I use a lot

I'm very comfortable with those always

have been and it stands of course we all

use its standard at least at this points

almost going in but still kind of a

standard and after that it's different

kinds of speakers I've used over the

years I've used krrk I've used JBL's

you know I've used all kinds of stuff my

philosophy is you should be able to make

it on anything and with a quick listen

you can put up iTunes and just go down

15 20 songs get a feel for how those

speakers work and then maybe play a few

things that you really know well that

you're comfortable with but you know

actually what they sound like and adjust

your ears and of course test-pilot

take a few mixes make a few balances

don't spend a lot of time just kind of

do it quick and listen to it and listen

to it and see what it feels like in a

few other different places

looks like rama how do you make vocal

sounds so smooth an area at the same

time total function of mid range a very

very very high level skill set the

attitude and the character in the mood

of instruments resigned in the mid range

they do not live in the high end they do

not live in the way way way extreme low

end they live in the mid range that is

where you hear the crack in the voice

the ring in the snare a rattle in the

guitar string the kick against acoustic

guitar strings the finger and the qatar

strings rattle on the bass it all lives

in that mid-range piano c3 middle a all

that

excuse-me middle c all that is right in

the mid-range and that's where the

character relocked resides so if you

scoop some of the mid-range out you can

sometimes get a voice that might be a

little too Monroe G or you can and

that's dangerous again because that's

very important somebody's almost a no-no

so you'll be very very careful kind of

wish in some ways that didn't say that

because I don't want people to go crazy

with the mid-range what I've done the

lots of times is used compressors that

have allocated EQ within them right so I

see one would be an example there's lots

of different ones like that and I can

sometimes just have the compressor

carefully on Peaks dip out that

mid-range which allows the top and the

bottom to sound louder compare the

mid-range on those notes where it might

be a little too shrinking

the first thing I discussed of course

would be more justice or overall EQ

maybe it was recorded on microphone that

kind of pushed the mid-range or the room

was a little too good ranging over the

console is adding a mid-range reproach

whistles at a mid-range you don't like

then you can go through and carefully

soundscape it but be very careful if you

take too much that mid-range out I'm

gonna be painting too much that

mid-range out the vocal won't sound like

it's really pushing out the attitude

needs to it'll sound now too smooth and

too Airy so it's very dangerous the the

top end when it says Airy generally a

function once you get the mid-range

right definitely a function of EQ so

lots of equalizers you can add 1520 K

stuff to get that air but then you get

into a sibilant issue so it becomes a

very high skill technique frankly of

finding the right de-essing that's not

allowing the high end to be too much but

the air is kind of open up the top but

then getting the mid-range carved out

and making sure there's not too much

bottom that's making you perceive that

it's not Airy but the low mid range you

want to be very careful with as well you

know anywhere from a my opinion from 250

to 2k very digits area make sure that

you don't roll out too much at lower

bottom so you don't lose the chest so

that when you put the vocal in the

record that is competing the bass Tom's

all these different things that live in

those areas are not you're not you've

carved out so much that now the vocal

sounds kind of thin and then supported

so sometimes those judgments you got to

make once you once you you know really

focused in and you've made those changes

and get to kind of focus back out and go

like well what does it feel like in the

record did I go too far or not far

enough mr. caylor

what's the process you use to create

full warm buttery vocals that seem to

surround you well I think we kind of

touch a little bit on that was last

question the full warm of course is that

lower mid-range area and the buttery is

to do the function of the mid-range

versus the top in and the surround you

then comes in two different coursing

that you can use at different delays you

can use different reverbs you can use

you know a short review can be very

disguisey to make something feel like

it's kind of buttering warm and by the

way you can EQ all those things on the

return right so it doesn't mean you have

to send something real warm you can send

something that's been carved out the way

you want it to and then in the return

add some lower middle or bottom that

makes you feel like it feels buttery

warm and corrupt the mid-range little

farther because it is the return on that

course or that delay that usually kind

of works very well for me Sebastian

where do you think the future of music

industry is going good or bad place

obviously an extremely long discussion

not not one minute answer so I think the

simplest answer I can give you is

obviously we now our part are now living

in the digital revolution and it's been

an absolute renaissance

in terms of how people consume music

listen to music by music and you know

obviously the the YouTube component has

got a lot of people listening to it

because they want the visual as well as

the auto audio but I think that as some

of the smarter business brains start to

come into our business and they start to

realize there's that there's the

potential to make money and those kind

of minds help harness the digital

revenue that is possible the truth is we

could end up with more money than we

know what to do with we're just not

there yet we're in that place where

we've moved from an analog world and

we're moving into a digital world and

not everybody knows exactly how to

harness that how to deal with the

finance of what it could be but imagine

a world where all the digital domains

start to have to pay a price or a tax

or people's consciousness that to

understand that just taking something is

not cool and they need to like either

subscribe to subscription base listening

music or another River those Amazon I

tune where they pay for it you know if

that all starts to become part of the

consciousness of pop culture and digital

starts to get its ability to have a toll

bridge of lack a barrier description

we'll call it we would know to do the

money so that's my hope Jesse do you mix

with EQ compression or other processing

them tube as if so which you must

plug-in you tend to use thanks well

obviously I definitely use compression

on stereo buss and EQ compression for me

is not level it never has been and I've

said this a million times in a million

different places I'm sure some of you

that maybe have come across something of

mine probably read it or seen it edit

nauseam but I think that's because I

hate the fact that a lot of people view

compression as just getting it up loud

compression as I've said a million times

is the most musical piece of equipment

we get to work with it's the only thing

that changes time it has an actual time

constant component where I can make

something feel late and early and move

around and wheeze and have a life that

feels like it's error --air that i have

a life work feels like it's moving in a

beautiful way so that's right is the

compression of stereo buss is I try to

find something that is making the mix

you know breathe and move and not feel

one-dimensional but multiple dimensions

to it because it's feeling like it's

coming and going I've tried everything

on the stereo bus I've tried every plug

in avi analog Hardware piece you could

imagine literally everything you could

ever imagine

I've tried it and I find myself you know

obviously lots of times I'm going back

to the standards you know the SSL

obviously gets used a tremendous amount

and some of the needs get used a

tremendous amount but the plugins in the

computer in protools

that particular DAW

I think a lot I think the you know l1

and the l3 316 I mean there's a bunch of

them that really sound cool UA has a

couple things that are great you just

have to just try it

I honestly there's to me no go to if you

want to go to I'm just going to say use

SSL go to that'll work kind of never let

you down but I don't know that that's

always the best creative choice it's the

safe choice it's going to work probably

80% of the records have it on it but not

necessarily creative choice and I'm

always really liking to choose and try

to find something creative because

that's just how I hear things and then

the EQ of course is is your choice again

I like EQ after the compression probably

eight out of ten times

I don't like pushing the EQ into the

compression unless I want that kind of

an effect and I don't want to

necessarily lose the EQ curve I'm adding

because the compressor obviously is

going to react to those frequencies that

are pushing or taking out EQ on the bus

you have to find something that you like

without a shadow of a doubt all the

plugins have a sound so you're

identifying not just the sonic curve but

you're also identifying the EQ choice in

terms of how it sounds you know

obviously am i this is my personal

opinion

you know first is like a focus right

would have a certain sound sometime

let's focus right plug-in or you can try

the model 1073 that would have a sound

you could throw in SSL channel strip

that would have a sound without doing

anything just going through it it's

going to have a sound and you have to

listen to it you know is this record

real acoustic and beautiful maybe I want

something like a Neve modeling maybe I

want a couple quick texts you know that

are very soft and pretty and beautiful

maybe they'll put the band rule far and

open the 15k the bandwidth and you know

really open up make it sound beautiful

or maybe it's a rock record where I want

to be more aggressive you know I might

use an SSL channel strip go for the

three k 7'k that really pushes the

record out hardcore you really got to

use your ears you know what's difficult

over the years is constantly trying to

come

people that there's not a go to and

experimentation is your best friend the

next question is from Martin Messi

you are known for using a lot of vintage

analog gear and using a lot of it for

parallel compression and or other types

of parallel treatment view have worked

in Pro Tools with plugins can you share

with us some of your choices of plugins

and their uses I been working in Pro

Tools extremely extremely excessively in

the last six years

and in the last two years a tremendous

amount and I'd actually say more

improved tools in an analog and analog

of course is fantastic I love all my

plugins I love all my analog gear I

still think that most of us not all of

us but most of us are still doing a

hybrid between the two we're not totally

ready to let go of the full amount of

the analog because there's things that

it does that Digital hasn't got to yet

the modelling the digital world of

course is getting better better better

and better and better in some cases I

think it's really like fantastic and as

usable as hard workpiece in some cases

they can get it so in the courses the

cases where they didn't get it I would

use it and that's obvious

different types of plugins it says here

that you can share on some of your

choice trace some so I guess you want me

to share some of my choice of plugins

and their uses I one of my favorite

plugins is audio tracks it's one of

those compressors that really like a

fairchild wheezes and moves in a way i

really like you know it's got a light to

it and I think it's great on overheads

I've had it great on room mics sometimes

on bass not too much too much success

with guitar some of the EMI stuff is

really great for guitar in terms of

compression and even the EMI EQ stuff is

really pretty stunning

for guitar/vocals I find myself using a

lot of the poor child and obviously not

because I designed it and it's not my

piece

I've always liked Fairchild periods so

I'm very comfortable with saying

publicly that I think it's an incredible

closed rendition in some ways better

than even the analog piece and I've had

maybe thirty five pair child's on my

hands over the years it's excellent

you'll find lots of times you can just

put on the vocal turn it on you don't

even have to do anything and it sounds

amazing

so those are a few ideas I guess we

consider really to be honest we could go

through hours and hours of it so weird

thing this question because I find them

people ask me what's your favorite

record or favorite artist I always go

kind of get stuck because when I think

about it's like I don't know it's my

favorite artists is my favorite record

like I have lots of things I like feel

like about the plugins you know probably

if we were a little more relaxed I had a

little more time and start talking

between the two of us for instance I

would start sharing like what about this

plugin or about that plugin but those

are some little quick ideas Josh do you

work to set deadlines do you set a date

time and finish the mix when that time

comes do you find this effective way of

keeping objectivity over the mix and if

not what strategies do you use another

fairly in-depth question a lot of

different ways the answer I'll say this

art if we look at records as art it's

never finished it we could spend days

tweaking changing things and never be

100% happy or always feel like we could

make something better

so with art just one day or the record

we'll call it one day just stops you

just finish you finish because there's

no money finish because it's a deadline

you finish for whatever reason people

are tired of it whatever it is you

finish so I think setting a date and the

time to finish is important I think it's

really good for arrangements for

production for recording for mixing all

of us as artistic people can just keep

going on and on and and and really

getting different perspectives and

of course we can pass it up but lots of

times we can make it a lot better at

least I like to think that and keeping

the objectivity of the mix is really

keeping a close pull sand look at

yourself as you're working when you

start to become tired of it or you feel

like you're on a rescue mission or you

feel like you gotta do different things

because it's not feeding you probably

time to stop work on another song work

on another three songs come back come

back the next day quit go have coffee

get on the phone whatever it is you

remind off it and come back to it that

will give you objectivity without a

shout-out even listening to some other

mixes listen to some of the music just

something to get your mind off of the

insane focus you have sometimes when

you're mixing a song and since there if

not what strategies do you use I kind of

just covered that so that'd be my answer

to you Josh

yes she loves me