All language subtitles for 12 - Jimmy Douglass

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hi I'm Jimmy devilís mixer else to do

sir and I'm here at lava batik mixed

with the Masters sendou today and we're

coming to the end of a wonderful week of

seminar with some fantastic attendants

very very bright people very pleasing we

learned a lot they learned a lot of hope

I learned a lot it was really really

good being here in the gathering and

while we're here we're in the middle of

actually making our final song which

should come out really really special

off a special request you might even be

able to have a peek of it you never know

in the meantime some of you have I guess

dialed in or called in and we're asking

a few little questions of me and I'd

love to answer them if I can I have a

little request here from Jessie gay what

does she prefer to bus chain hardware or

software from mixing not mastering and

if a political what songs do you use for

reference when mixing and/or learning

the sound of a new room

well my preferred to bus chain would be

um it's an sr-71 called the Blackbird

compressor made by the tube equipment

corporation and what it is is it's a

remake of a Fairchild and it sounds

really really good I will use that with

the SSL ex logic channel so it's like an

SSL channel strip those two combinations

probably give me any combination of

anything I need from my for my 2buss

returns in terms of the what songs are

used to reference monitors when I'm

mixing or wherever and or I'm in a new

room I'll pretty much use any of the

popular records of the day because I

kind of know them and listen to them I

get to know you know what competitively

is out there and also the things that I

really like there's a lot of Records I

like

there's a lot of things that I'd listen

to because I respect the fact that a lot

of other people like them it would

depend on any given day thank you for

asking

Jessie my next question comes from P

arts CJ I hope I pronounce your name

correctly I'm sure that with your

experience when you start to mix a song

you know very quickly what you want the

psalm to sound like but early on in your

career did you spend a lot of time

thinking about where a song needed to go

did you listen to other songs to draw

inspiration or did you allow yourself to

be led by the songs that you were mixing

I'd say early on in my career I was a

little more affected by where I wanted

to go and I wanted to save the world but

the amazing sounds of the records that I

was going to make don't we all

it became very personal and it you know

was I'd spend a lot of time and

sometimes I would achieve it and

sometimes I wouldn't

sometimes I've achieve it and the people

around me work or they were working with

they would appreciate and sometimes they

wouldn't it became a very kind of a

dynamic variable thing so now you know

if I hear a record that has something

really special in it that really affects

me I would like to get some of that in

the record the next record I'm gonna

make I try really hard but in general I

don't know where the record is going to

go I kind of let the record guide me by

what's put together in it very good

question thank you my next question

comes from Francisco or Roz hi Jimmy

what are your techniques for checking

low frequencies on in his tens other

than blowing them up well that is one

technique very good very good

the other technique you know honestly I

I've said this many times and I'll

continue to say it in the Innis tens I

don't care that I don't I choose not to

really pay attention to the low-end

I always assume it's going to take care

of itself and so for most of the time it

does take care of yourself every now and

then there'll be a bottom that's a

little bit bigger than I thought it was

and I'm not hearing

there but in general I kind of just I go

to the in his tens because I don't want

to be dealing with the bottom and that's

there's no other way there is no other

technique really my next question is

from gas barred Murphy when confronted

with an ADA Wade style kick and a bass

track how do you make them live together

I tend to use Italy usually let the 808

lead for the bottom and then basically

with a bass track I'll probably try to

carve away some of that low end so they

don't get in each other's way

and I kind of add a little bit of the

top end to get that crunchiness so it

actually the bass actually points more

and then I'll let the 808 be the round

warmth pretty much and hopefully that

works 90% of the time thank you

yes Berg my next question is from julio

de la casa and he says hi Jimmy thanks

for doing this what is your main set of

speakers these days my main set of

speakers that I use of course there's a

Ennis tends they were always there

always there

they're always invited to the party I'm

using K R K the K our case the 8

speakers the v8 series 2 and I have a

sub strapped to them and they work

pretty good for me they work very very

nice and of course for my Mane's I'll

use oz burgers with the big sub on it

and that's pretty much what I've been

using in general when I can get those I

use those I have a question here from

Robert Sean do you still mix on an

analog board if so what's your approach

towards mixed validation do you wait for

the artists feedback or do you move

right on and recall it later well that

question there's it's multi multi

faceted and the answer the first one is

yes I still do mix on an analog board

not all the time but I do do it sometime

I enjoy it I have this one nicely behind

me as you can see there it's amazing

it's easy to put the hands on cz around

real quick I know exactly where the

frequencies or I can down with deling

but I do use it every now I do use it

especially when I have a client there

with me and artists that's there with me

I will use the board and we'll go

through it together and the validation

happens right then and there when I get

finished with any mix we discuss if we

put it together if the client isn't

there sometimes I kind of get shy away

from the board a little bit but if I do

do a mix of the board the validation

factor I kind of I kind of move on and

wait for feedback for the feedback when

once I'm in recall mood it's hard to

leave something on the board for a long

time sometimes artists don't get back to

you for many days so you'd kind of be

out of commission waiting for them so I

I do it I print it I send it on and wait

for their feedback my next question is

from Franco Rubio he says a hi Jimmy do

you still to full on recalls or do you

print an extensive set of stems and work

from there

if so once you're working from these

stems do you stay in ProTools or do you

sum them back to the board well like I

said I don't always do everything all

the time the same way all the time but

in general I'd say I don't really do

full-on recalls on the board I'd say

that pretty much I print stems and I'll

print extensive stems if I have to if

I've gone on that many faders on the

board and once I'm back in the box I

kind of stay in the Pro Tools and I'll

maybe pull one or two things out to rego

over it again or re reprocess it and

once I've reprocessed that I were once

again print that's them back in the Pro

Tools at a certain point I like to be

able to open up the Pro Tools and have

the sum of all the work I've been

working on come up to me instantly Thank

You Frankie that was a good question so

I appreciate all you like

dialing in and being interested in how I

make records I enjoy making them and you

know I just I just kind of thought it

was just work didn't know it was that

interesting but appreciate the thoughts

appreciate the questions and

la Fabrique why aren't you here thank

you

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